MASTERS  IN  ART 


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CONTAINS  a portrait  of  Chopin,  an  elaborate  essay  by  the  editor,  and 
the  composer’s  forty  most  beautiful  numbers  in  184  music  pages  in  folio 
size.  Mr.  Huneker  is  the  recognized  authority  on  Chopin,  and  the  volume  is 
in  every  detail  the  most  artistic  issued. 

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MASTERS  IN  ART 

A Notice  A 

Advance  in  Price  of 
Back  Numbers 


On  and  after  January  i,  1904,  the  price  of  all  Back 
Numbers  of  ‘Masters  in  Art’ — that  is  all  numbers 
published  prior  to  that  date — will  be  advanced  from 
Fifteen  Cents  to 

TWENTY  CENTS 

a copy,  whether  purchased  singly  or  in  yearly  sets. 
The  price  of  the  Bound  Yearly  Volumes  will  be 
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MASTERS  IN  ART 


♦MASTERS 
TNFART- 
*13  04/* 


PROSPECTUS 

MASTERS  IN  ART 

FOR  1904 


list  of  painters  to  be  presented  in 
$3  -p?3  Masters  in  Art  during  1904  — the  fifth 
& ' & year  of  the  Series — makes  it  already  cer- 

tain  that  in  variety,  in  interest,  and  in 
the  charm  of  its  pictures,  the  forthcoming  volume 
of  the  magazine  will  not  be  surpassed  by  any 
of  its  predecessors. 

C.The  artists  chosen  for  subjects  will  range  in 
date  from  the  quaint,  primitive  painters  of  the 
fifteenth  century  to  those  of  our  own  time,  and 
will  represent  the  art  of  the  Italian,  German, 
Flemish,  Dutch,  French,  and  English  schools, 
while  an  American  painter  will  be  treated  in  the 
magazine  for  the  first  time. 

C.In  general  plan  Masters  in  Art  will  remain 
unchanged,  continuing  to  present  in  its  text  all 
the  features  of  previous  years  — a faithful  biog- 
raphy, criticisms  by  the  foremost  writers  on  art, 
detailed  descriptions  of  the  representative  paint- 
ings shown,  a list  of  each  artist’s  works,  and 
careful  bibliographies  — while,  as  heretofore,  ad- 
vantage will  be  taken  of  every  improvement  in 
photography,  engraving,  and  printing  that  may 
make  its  illustrations  more  faithful  and  beautiful 
reproductions  of  their  originals. 

C.The  following  page  gives  a partial  list  of  the 
painters  to  be  considered  during  1904.  The  re- 
maining names,  to  be  announced  later,  are  of  no 
less  interest. 


MASTERS  IN  ART 


WWMONG  THE  ARTISTS  TO 
|A  | BE  TREATED  DURING  THE 
WW  YEAR  MAY  BE  NAMED 


C.FRA  BARTOLOMMEO.  The  friar  painter  of 
Madonnas  and  Holy  Families,  who  with  his  own 
intuitive  sense  of  symmetry,  science  of  composi- 
tion, and  tender  feeling,  combined  something  of 
Raphael’s  grace. 

CDURER’S  ENGRAVINGS.  The  first  num- 
ber of  the  Series  to  be  devoted  wholly  to  engrav- 
ings will  have  for  its  subject  the  unmatched 
copperplates  and  woodcuts  of  Albrecht  Diirer, 
the  greatest  master  of  engraving  the  world  has 
seen.  Among  the  plates  to  be  reproduced  may 
be  named  those  masterpieces  of  imagination  and 
technical  skill,  the  “ Melancholia,”  and  41  The 
Knight,  Death,  and  the  Devil.” 

C.COPLEY.  The  famous  American  painter  of 
portraits  in  Colonial  days. 

CY  ERONESE,  whose  art  was  the  most  gorgeous 
of  all  the  Venetian  school,  and  who  elevated 
pageantry  to  the  height  of  most  serious  art. 

C.LANDSEER.  The  English  painter  of  dogs  and 
other  animals,  who  expressed  the  emotional 
natures  of  the  beasts  he  portrayed. 

C.MEISSONIER,  whom  French  grace  grafted 
upon  Dutch  fidelity  made  the  master  of  modern 
genre-painting. 

C.PINTORICCHIO.  A portrayer  of  the  man- 
ners and  costumes  of  his  day  in  scenes  of  wonder- 
ful decorative  quality. 

C. Subscribers  are  advised  to  renew  expiring  sub- 
scriptions promptly,  that  their  files  of  the  maga- 
zine may  not  be  broken. 


MASTERS  IN  ART 


•MASTERS 

•INMUSIC 

4904'* 


PROSPECTUS 

MASTERS  IN  MUSIC 

FOR  1904 


C^S^NDER  the  continued  editorship  of  Mr. 
£u  ^ Daniel  Gregory  Mason,  Masters  in 
M,  S1C  w*^»  during  1^04,  follow  the  same 
plan,  and  include  all  the  features  that 
have  already  won  it  a distinctive  place  among 
musical  publications,  and  called  forth  the  unani- 
mous praise  of  music  teachers,  critics,  students, 
and  its  subscribers  generally. 

«.It  is,  however,  already  assured  that  the  num- 
bers of  the  second  year  will  surpass  those  of  the 
first  in  value  and  attractiveness.  Not  only  are 
the  musicians  to  be  treated  during  1904  com- 
posers whose  works  are  of  exceptional  interest  (a 
list  of  them  is  given  on  the  opposite  side  of  this 
sheet),  but  the  experience  gained  and  the  many 
valuable  suggestions  received  will  enable  the 
Editor  and  Publishers  to  produce  numbers  of  still 
firmer  grasp  and  more  readable  interest. 

C.In  general  appearance  the  magazine,  which  has 
been  called  “the  aristocrat  of  musical  produc- 
tions,” will  continue  unchanged  ; and  the  two 
volumes  into  which  the  1904  issues  will  be  divi- 
ded may  be  bound  uniform  with  those  of  the  first 
year,  thus  putting  continuing  subscribers  in  pos- 
session of  a musical  library  of  unique  value. 

C.The  following  page  gives  a partial  list  of  the 
musicians  to  be  treated. 


MASTERS  IN  ART 


WWMONG  THE  COMPOSERS  TO 
| A§BE  TREATED  DURING  THE 
&&&*&  YEAR  MAY  BE  NAMED 


C.JOHANN  SEBASTIAN  BACH.  Often  called 
“the  musician’s  composer.”  The  great  fugal 
writer  who  established  modern  harmony.'  A 
master  of  counterpoint,  and  the  great  master  of 
church  music. 

CFRANZ  PETER  SCHUBERT.  After  Mozart 
the  most  genial,  spontaneous,  and  melodious  of 
composers. 

CKARL  MARIA  von  WEBER.  The  creator  of 
“ Romantic  ” opera  ; the  most  brilliant  of  oper- 
atic masters,  and  the  forerunner  of  Wagner. 
C.FRANZ  LISZT.  The  great  pioneer  in  pianistic 
effects. 

C.ANTONIN  DVORAK.  Founder  of  the  Bo- 
hemian school  of  music.  A master  of  the  dance 
element  in  music,  who  glorified  and  made  classic 
the  native  folk  music  of  Bohemia,  and  did  the 
same  for  American  negro  melodies. 

C.ROBERT  FRANZ.  One  of  Germany’s  great- 
est lyrical  composers,  who  brought  the  German 
lied  to  a high  artistic  development. 

C.THE  SCARLATTIS.  Quaint,  old-fashioned 
writers  for  the  clavichord,  the  precursor  of  the 
modern  piano. 

C.The  remaining  numbers  (among  which  may 
now  be  named  one  upon  IRISH  FOLK-SONGS, 
giving  examples  of  the  beautiful  and  highly  ex- 
pressive folk  music  of  Ireland)  will  be  of  no  less 
interest  and  variety  than  those  mentioned  above. 
C,Subscribers  are  advised  to  renew  expiring  sub- 
scriptions promptly,  that  their  files  of  the  maga- 
zine may  not  be  broken. 


Nz> 


MASTERS  IN  ART 


MASTERS  IN  ART 


a 3$  into  imps  mtto  ISounto  Volumes  a 


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THE  issues  already  published  in  ‘ Masters  in  Art’  can  be  ob- 
tained bound  in  handsome  and  substantial  uniform  volumes 
arranged  as  follows  : 


Volume  I.,  1900 

Contains  numbers  on  Van  Dyck,  Titian,  Velasquez,  Holbein  the 
Younger,  Botticelli,  Rembrandt,  Reynolds,  Millet,  Giovanni  Bel- 
lini, Murillo,  Hals,  and  Raphael. 


Volume  II.,  1901 

Contains  numbers  on  Rubens,  Leonardo  da  Vinci,  Diirer,  Michel- 
angelo (Sculptures),  Michelangelo  (Paintings),  Corot,  Burne- 
Jones,  Ter  Borch,  Luca  and  Andrea  della  Robbia,  Andrea  del  Sarto, 
Gainsborough,  and  Correggio. 

Volume  III.,  1902 

Contains  numbers  on  Phidias,  Perugino,  Holbein  ( Drawings),  Tin- 
toretto, Pieter  de  Hooch,  Nattier,  Paul  Potter,  Giotto,  Praxiteles, 
Hogarth,  Turner,  and  Luini. 


Volume  IV..  1903 

Ready  about  January  I,  1904.  Contains  numbers  on  Romney,  Fra 
Angelico,  Watteau,  Raphael’s  Frescos,  Donatello,  Gerard  Dou,  Car- 
paccio, Rosa  Bonheur,  Guido  Reni,  Puvis  de  Chavannes,  Giorgione, 
and  Rossetti. 


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S4-2S- 


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MASTERS  IN  ART 


A Charming  Book  for  the  Holidays 


Ciisttltitn  50 .1 )) o 

By  JOHN  HAY,  Secretary  of  State 


Entrance  to  the  Bull  Ring,  Madrid 


CASTLES  in  Spain  are  always  interesting,  and  especially  de- 
lightful is  the  opportunity  to  see  them  through  the  eyes  of  so 
keen  an  observer  as  the  Hon,  John  Hay.  With  much  enthusiasm 
and  vigor  he  describes  the  natural  scenery,  the  people,  the  works  of 
art,  the  holidays  and  festivals,  including,  of  course,  a grand  bull 
fight.  Mr.  Joseph  Pennell’s  numerous  full-page  and  text  pictures 
in  crayon,  pen  and  ink,  and  wash  make  a most  attractive  feature. 

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No  furniture  so  charming 

as  books,  even  if  you  never  open  them  or  read  a single  word 

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perfect  in  their  way  as  editions  de  luxe.  Covers  are  green,  rich  and  plain,  in  durable 
paper,  cloth  and  leather.  Type  is  legible,  paper  “ featherweight,”  size  7 '/2  x 4. 

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est good  books  made.  Novel  method  of  publishing  described  in  the  prospectus  we  send 
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MASTERS  IN  ART 


c. Would  You  Win  Place? 

Be  clean,  both  in  and  out.  We  cannot  undertake  the  former 
task, — that  lies  with  yourself, — but  the  latter  we  can  aid  with 
HAND  SAPOLIO.  It  costs  but  a trifle  — its  use  is  a fine 
habit. 

C,The  Pores 

Are  the  safety-valves  of  the  body.  If  they  be  kept  in  perfect 
order  by  constant  and  intelligent  bathing  a very  general 
source  of  danger  from  disease  is  avoided.  HAND  SAPOLIO 
is  unequaled  as  a gentle,  efficacious  pore-opener. 

C,Hand  Sapolio 

Neither  coats  over  the  surface  nor  does  it  go  down  into  the 
pores  and  dissolve  their  necessary  oils.  It  opens  the  pores, 
liberates  their  activities,  but  works  no  chemical  change  in 
those  delicate  juices  that  go  to  make  up  the  charm  and 
bloom  of  a perfect  complexion.  Test  it  yourself. 


Next  to  the  Heart  of 
Candy  Covers 


arc 


WHITMAN’S 


Chocolates  and  Confections 


The  Perfection 
of 

Confections 


ASK  FOR  THEM  AN  T (THE  R E 


WHITMAN’S  Instantaneous  Chocolate 

Made  instantly  with  boiling  milk. 


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MASTERS  IN  ART 


£)ante  ©iibricl  Hossctti 


ENGLISH  SCHOOL 


NO 

sqi 


MASTERS  IX  ART  PLATE  I 

FmOTOGRAFm  by  HANFSTAENGL 

[ 465  ] 


ROSSETTI 

‘ECCE  AXCILLA  DOMINI* 

NATIONAL  GALLERY  OF  BRITISH  ART,  LONDON 


M A ST KBS  IN  ABT  PLATE  II 


PHOTOGRAPH  BV  HOILYER 

[467] 


BOSSETTI 

THE  GIRLHOOD  OK  MART  VIBGIN 
OWNED  BY  MRS.  JEKYLL 


MASTERS  IX  ART  PLATE  III 


PHOTOGRAPH  BY  J.  CASWALL  SMITH 

[ 469  ] 


ROSSETTI 

THE  BLESSED  DAMOZEL 
OWNED  BY  THE  HON.  MRS.  O'BRIEN 


MASTERS  IX  ART  PLATE  IV 

photograph  sv  mollvcr 

[471] 


ROSSETTI 

PROSEHPINE 

OWNED  BY  W.  GRAHAM  ROBERTSON,  ESU* 


• * 


MASTERS  IN  ART  PLATE  VI 

^HOTOQUAr*  BY  MOLLYER 

[475] 


ROSSETTI 

ALTAR-PIECE*  THE  SEED  OF  DAVID  [DETAIL] 
LLAXDAFF CATHEDRAL 


MASTERS  IN  ART  PLATE  VII 
photograph  by  hawfstaingl 
[477] 


ROSSETTI 
HE AT A REATRIX 

NATIONAL  GALLERY  OF  BRITISH  ART,  LONDON 


t qo;o  1 ><$&•> 


MASTERS  IN  ART  PLATE  VIII 

PHOTOGRAPH  SV  MOLLYE* 


[479] 


ROSSETTI 

PAOLO  ANI)  FRANCESCA 
OWNED  BY  W.  R.  MOSS,  ESQ* 


MASTERS  IN  ART  PLATE  IX 

FROM  MARULIER'S  * ROSSETTI* 

[481] 


ROSSETTI 
THE  BELOVED 

OWNED  BY  GEORGE  BAE,  ESQ* 


MASTERS  IX  ART  PLATE  X 


PHOTOGRAPH  BY  J.  C A SMALL  SMITH 

L 48  I ] 


ROSSETTI 
THE  LOVING  CUP 
OWXEI)  HY  T.  H.  ISMAY,  ESQ* 


UM 


POKTHAIT  OF  ROSSKTTI  FROM  A PHOTOGRAPH 

The  portrait  of  Rossetti  here  reproduced  is  from  a photograph  taken  by 
W.  and  C.  Downey,  of  London,  in  1862,  when  the  artist  was  thirty- 
four  years  old.  The  likeness,  according  to  his  brother,  is  an  excellent 
one.  A description  of  Rossetti's  appearance  will  be  found  in  the  biography 
which  follows. 


T 41(4  ] 


MASTERS  IN  ART 


SDantc  Gabriel 

Rossetti 


BORN  1828:  DIED  1882 
ENGLISH  SCHOOL 


Gabriel  Charles  dante  rossetti,  commonly  known  as 

Dante  Gabriel  Rossetti,  was  born  May  12,  1828,  at  38  Charlotte  Street, 
Portland  Place,  London.  Though  English  by  adoption,  his  family  was  of 
Italian  origin.  His  father,  Gabriele  Rossetti,  a native  of  the  town  of  Vasto 
in  the  then  kingdom  of  Naples,  was  a poet  of  considerable  literary  distinction, 
who,  having  by  his  patriotic  songs  incurred  the  enmity  of  the  Bourbon  King 
Ferdinand  of  Naples,  was  compelled  to  leave  his  country.  After  many  vicis- 
situdes he  found  refuge  in  England,  where,  in  1824,  he  established  himself 
as  a teacher  of  Italian,  and  before  long  received  an  appointment  as  professor 
of  that  language  at  King’s  College,  London,  and  later  achieved  a reputation 
as  a learned  and  original  commentator  on  Dante.  Two  years  after  his  ar- 
rival in  England  he  married  Frances  Polidori,  of  Italian  and  English  parent- 
age, and  to  them  four  children  were  born,  all  of  whom  distinguished  them- 
selves in  art  or  in  letters.  Maria  Francesca,  the  eldest,  was  the  author  of  a 
critical  work  entitled  ‘The  Shadow  of  Dante;’  Dante  Gabriel,  the  subject 
of  this  monograph,  won  distinction  as  both  poet  and  painter;  William  Michael 
became  well  known  as  a writer  and  art  critic;  and  Christina  was  one  of  the 
most  famous  of  English  nineteenth-century  poets. 

Although  in  the  heart  of  London,  the  immediate  environment  of  the  Ros- 
setti family  was  far  more  Italian  than  English.  Their  unpretentious  home 
became  the  resort  of  all  classes  of  Italians,  whether  noblemen  or  humblest 
of  refugees,  men  of  letters,  poets,  artists,  musicians,  or  political  revolution- 
aries, passing  through  or  resident  in  London. 

Such  an  atmosphere  naturally  stimulated  Dante  Gabriel  Rossetti’s  some- 
what precocious  powers.  At  an  early  age  he  became  familiar  with  Shake- 
speare, Scott,  and  other  writers  of  imagination  and  romance ; and  when  five  or 
six  years  old  composed  a drama  in  blank  verse,  called  ‘The  Slave,’  which,  al- 
though childish  in  diction,  was  nevertheless  marked  by  correctness  of  meter. 
His  education  was  begun  at  a private  school,  but  when  nine  years  old  he  was 

[4  85] 


24 


MASTERS  IN  ART 


sent  to  King’s  College,  where  he  remained  for  five  years,  and  acquired  in 
that  time  a fair  knowledge  of  the  ordinary  branches  of  learning.  French  and, 
of  course,  Italian  he  spoke  with  fluency,  and  in  German  he  was  tolerably 
versed.  From  early  childhood  he  had  shown  so  decided  a proclivity  for  draw- 
ing and  painting  that  it  seems  to  have  been  understood  that  “ Gabriel,”  as 
he  was  called  in  the  family,  was  to  be  a painter.  Accordingly  upon  leaving 
school  he  was  sent  to  Cary’s  drawing  academy  in  London,  and  thence,  after 
four  years,  to  the  Antique  School  of  the  Royal  Academy.  At  neither  place 
was  his  progress  in  any  way  remarkable.  Impatient  for  great  results,  he  chafed 
under  the  necessarily  slow  preparatory  processes,  and  his  defective  drawing 
and  imperfect  knowledge  of  anatomy,  which  throughout  life  hampered  him 
in  his  artistic  achievement,  may  be  traced  to  a lack  of  thoroughness  at  this 
period. 

The  traditions  of  the  Academy  were  then  little  calculated  to  encourage  the 
imaginative  powers  to  which  Rossetti  was  eager  to  give  expression;  and 
finally,  in  1848,  out  of  patience  with  the  technicalities  of  academic  train- 
ing, he  applied  for  instruction  to  an  artist  the  originality  of  whose  works 
had  deeply  impressed  him.  This  was  Ford  Madox  Brown,  who,  although 
not  a professional  teacher,  agreed  to  receive  the  young  man  in  his  studio  as 
a pupil.  He  refused,  however,  to  accept  any  remuneration  for  his  services; 
and  from  that  time  on  became  one  of  Rossetti’s  firmest  and  most  valued 
friends. 

But  Rossetti’s  hopes  of  being  allowed  to  paint  before  he  had  mastered  the 
difficulties  of  drawing  were  dashed  when  he  was  obliged  by  his  new  in- 
structor to  paint  a study  of  still-life — pickle-jars  being  the  subject  selected. 
T his  was  the  sort  of  drudgery  that  in  applying  to  Brown  he  had  expected  to 
avoid;  and,  disgusted  with  the  continuance  of  what  he  regarded  as  unnec- 
essary training,  he  soon  left  his  preceptor  to  share  a studio  with  Holman 
Hunt,  a young  painter  whose  picture,  ‘The  Eve  of  St.  Agnes,’  he  had  seen 
and  admired  at  the  recently  opened  annual  exhibition  of  the  Royal  Academy. 
To  Hunt  Rossetti  confided  his  troubles,  and  at  his  friend’s  suggestion  set  to 
work  to  copy  a composition  of  Hunt’s,  beginning,  for  the  sake  of  practice, 
with  the  accessories  proper  to  such  a picture. 

I'his  same  year,  1848,  was  an  important  one  in  Rossetti’s  career.  His 
fellowship  with  Hunt  led  to  a friendship  with  John  Everett  Millais,  his  junior 
by  a year,  though  already  an  exhibiting  painter  of  promise.  With  these  three 
young  men,  Hunt,  Rossetti,  and  Millais,  aged  respectively  twenty-one, 
twenty,  and  nineteen  years,  originated  the  movement  known  as  Preraphael- 
itism  — in  other  words,  an  emulation  of  the  sincerity  and  love  of  truth  that 
characterized  the  early  Italian,  p'lemish,  and  German  painters  in  contradis- 
tinction to  the  more  artificial  methods  that  prevailed  after  Raphael’s  time. 
The  “ Preraphaelite  Brotherhood”  was,  however,  instituted  rather  to  bring 
about  a return  to  the  more  faithful  study  of  nature  than  with  the  idea  of  any  ex- 
act imitation  of  the  painters  who  preceded  Raphael — the  term  “Preraphael- 
ite” being  adopted  half  in  fun,  half  in  a spirit  of  bravado  in  thus  assuming  a 
title  which  had  first  been  used  as  a term  of  contempt  by  those  not  in  sym- 

[48  6] 


ROSSETTI 


25 


pathy  with  this  reaction  against  the  conventional  and  commonplace  art  of 
that  day.  Four  members  were  soon  added  to  the  original  trio  of  Preraphael- 
ites — T homas  Woolner,  James  Collinson,  Frederic  George  Stephens,  and 
William  Michael  Rossetti,  who  was  made  secretary  of  the  Brotherhood. 
Ford  Madox  Brown,  though  in  sympathy  with  the  movement,  refused  to 
become  a member  of  the  band,  as  he  disapproved  of  anything  of  the  nature 
of  an  artistic  clique. 

Weekly  meetings  were  held  by  the  Preraphaelite  Brothers,  who  agreed  to 
inscribe  after  their  names  on  their  pictures,  and  to  use  in  all  private  inter- 
course, the  mystic  letters  “P.  R.  B.”  Upon  the  suggestion  of  Rossetti,  who 
was  the  leading  spirit  in  the  association,  a literary  organ  called  ‘The  Germ’ 
was  established  to  spread  their  opinions.  The  magazine,  however,  was  short- 
lived, only  four  numbers  being  published  before  it  died  for  want  of  financial 
support. 

It  was  at  this  time  that  Rossetti  painted  the  picture  called  ‘The  Girl- 
hood of  Mary  Virgin,’  and  soon  afterwards  his  representation  of  the  an- 
nunciation, entitled  ‘ Ecce  Ancilla  Domini,’  both  conceived  in  the  Preraphael- 
ite spirit.  The  exhibition  of  the  latter  picture  called  forth  from  the  critics 
a storm  of  abuse  and  raillery  which  was  shared  by  the  other  Preraphaelite 
Brothers,  whose  pictures  were  greeted  with  similar  derision.  Just  when  the 
attacks  were  most  bitter,  however,  a champion  appeared  in  the  person  of 
John  Ruskin,  who  in  a letter  to  the  London  Times  defended  the  Brother- 
hood from  the  charge  of  being  mere  slavish  copyists  and  participants  in  a 
conspiracy  against  Raphael.  And  if  Ruskin  attributed  sentiments  and  ideas 
to  the  Preraphaelites  that  in  the  original  establishment  of  the  Brotherhood 
had  not  been  formulated  by  its  members,  their  debt  of  gratitude  to  him  for 
his  defense  of  their  cause  was  nevertheless  great. 

As  a definite  organization  the  Preraphaelite  Brotherhood  was  disbanded  at 
the  end  of  two  or  three  years.  The  members  drifted  apart;  each  painted 
after  his  own  special  style,  and  Preraphaelitism,  so-called,  passed  away  ; but 
its  stamp  had  been  indelibly  impressed  upon  the  art,  more  especially  upon 
the  decorative  art,  of  England,  and  it  is  now  recognized  as  one  of  the  impor- 
tant movements  in  the  history  of  painting. 

In  these  first  years  of  Rossetti’s  career  as  a painter  his  progress  in  literary 
work  had  been  remarkable.  As  early  as  1843  he  had  written  a romantic 
prose  tale  called  ‘Sorrentino,’  and  had  made  translations  from  the  German. 
Soon  afterwards,  translations  from  Dante  and  other  early  Italian  poets  were 
begun,  though  not  published  until  many  years  later,  when  his  interest  in  the 
writings  of  Dante  found  expression  through  his  brush  as  well.  His  most 
famous  poem,  ‘The  Blessed  Damozel,’  written  in  his  nineteenth  year,  was 
first  published  in  ‘The  Germ,’  in  which  other  verses  by  him  also  appeared. 
The  years  that  followed  found  Rossetti  occupied  in  both  art  and  poetry, 
and  were  varied  only  by  a trip  to  the  continent  in  company  with  Holman 
Hunt.  Rossetti  had  no  love  for  travel,  and  with  the  exception  of  a few  visits 
to  Paris  and  Belgium,  and  occasional  short  sojourns  in  Scotland,  he  never 
left  England,  not  even  caring  to  go  to  Italy. 

[487] 


26 


MASTERS  IN  ART 


Hostile  criticism  of  his  paintings,  lack  of  patrons,  and  consequent  straight- 
ened circumstances  made  Rossetti’s  life  at  this  period  a struggle.  Discour- 
aged by  the  reception  accorded  his  painting  of  the  annunciation,  he  exhibited 
no  more  works,  and  did  not  even  attempt  to  publish  his  poems. 

In  1850  an  event  occurred  which  had  a lasting  influence  upon  his  life. 
Among  the  models  who  sat  to  him  was  Miss  Elizabeth  Siddal,  then  earning 
her  living  in  London  as  a milliner’s  assistant.  She  was  gifted  with  unusual 
beauty,  as  well  as  with  a natural  love  of  poetry,  and  a talent  for  painting 
which  rapidly  developed  under  the  instruction  that  Rossetti  gave  her.  The 
painter  was  never  tired  of  reproducing  her  delicate  type  of  beauty  ; she  be- 
came the  model  for  most  of  his  pictures  painted  at  this  period,  notably  for 
the  numerous  portrayals  of  “ Beatrice;”  and  Rossetti,  with  all  the  force  of 
his  passionate  nature,  fell  deeply  and  seriously  in  love  with  her.  They  be- 
came engaged;  but  a consumptive  tendency  rendered  Miss  Siddal’s  health 
extremely  delicate,  and  it  may  be  that  this,  added  to  Rossetti’s  uncertain 
means  of  support,  necessitated  the  long,  and  never  fully  explained,  postpone- 
ment of  their  marriage. 

In  1854,  and  later,  Rossetti  was  engaged  upon  designs  for  some  of  Ten- 
nyson’s poems.  Many  of  his  principal  drawings  and  water-colors  were  also 
executed  at  this  time,  and  ‘Found,’  his  one  realistic  picture,  was  now  begun, 
though  never  entirely  finished.  Relief  from  financial  difficulties  first  came  to 
him  through  the  patronage  of  Mr.  Ruskin,  who  took  keen  delight  in  his  artis- 
tic work,  and  agreed  to  buy,  up  to  a certain  amount,  and  at  the  same  price 
that  would  have  been  asked  of  an  ordinary  purchaser,  whatever  picture  of 
Rossetti’s  pleased  him.  This  arrangement,  begun  in  1854,  lasted  for  some 
years,  and  terminated  only  when  Rossetti  could  no  longer  brook  the  constant 
criticisms  which  Ruskin  could  not  refrain  from  expressing. 

Another  friendship  formed  during  these  years  was  that  with  Burne-Jones, 
then  an  Oxford  student,  who  went  to  Rossetti  for  advice  and  guidance,  even 
as  Rossetti  himself  had  gone  to  Madox  Brown.  Through  Burne-Jones  Ros- 
setti came  to  know  William  Morris  and  Algernon  Charles  Swinburne,  also 
Oxford  students.  Together  with  Morris,  Burne-Jones,  and  four  other  young 
artists,  Rossetti  undertook,  in  1856,  the  decoration  of  the  walls  of  the  Union 
Debating  Hall  at  Oxford  with  scenes  from  Malory’s  ‘Morte  d’Arthur,’  a 
work  which  was  soon  reduced  to  a mere  wreck  because  of  their  ignorance  of 
the  processes  of  distemper  painting. 

In  May,  1860,  Rossetti  and  Elizabeth  Siddal  were  married,  and,  after  a 
short  wedding  journey  to  Paris,  took  up  their  residence  in  Chatham  Place, 
Blackfriar’s  Bridge,  London,  where  Rossetti  had  long  had  his  studio  and 
rooms.  The  two  years  of  his  married  life  were  the  happiest  that  he  had 
known,  and  during  this  period  he  did  some  of  his  most  inspired  work  in 
both  poetry  and  painting.  At  the  end  of  a year,  and  after  the  birth  of  a 
still-born  child,  Mrs.  Rossetti’s  health,  always  frail,  failed  perceptibly;  and 
in  February,  1862,  she  died  from  the  effects  of  an  overdose  of  laudanum, 
taken  to  relieve  neuralgia.  The  blow  was  a terrible  one  to  Rossetti,  and  on 
the  day  of  her  funeral  he  gave  expression  to  the  intensity  of  his  grief  in  a 

[488] 


ROSSETTI 


27 


way  Characteristic  of  his  emotional  nature  by  placing  in  her  coffin  the  man- 
uscript copy  of  his  poems,  many  of  which  existed  only  in  that  form.  These 
poems  remained  buried  until  he  was  persuaded,  seven  years  later,  to  consent 
to  their  disinterment  and  subsequent  publication. 

After  his  wife’s  death  Rossetti  removed  from  Chatham  Place  to  chambers 
in  Lincoln’s  Inn  Fields;  and  at  the  end  of  a few  months  took  up  his  residence 
at  Tudor  House,  Cheyne  Walk,  Chelsea,  where  for  some  time  his  brother, 
W.  M.  Rossetti,  Mr.  Swinburne,  the  poet,  and  Mr.  George  Meredith,  the 
novelist,  lived  with  him.  Tudor  House,  described  by  Thackeray  in  ‘Henry 
Esmond’  as  the  residence  of  the  old  Countess  of  Chelsey,  was  Rossetti’s 
home  for  the  remainder  of  his  life.  In  its  spacious  and  somewhat  gloomy 
rooms  he  collected  quantities  of  old  oak  furniture  and  curios,  together  with 
rare  specimens  of  blue  china  and  Japanese  bric-a-brac,  for  all  of  which  he 
had  a passion.  In  the  large  garden  at  the  back  of  the  house  Rossetti  kept  a 
number  of  animals.  His  fondness  for  “beasts”  was  well  known.  He  was 
particularly  partial  to  those  of  a quaint  and  grotesque  nature  — a tame  wom- 
bat and  still  tamer  woodchuck  being  his  prime  favorites.  Among  other  pets 
were  a Pomeranian  puppv,  an  Irish  deerhound,  owls,  hedgehogs,  armadillos, 
kangaroos,  wallabies,  white  mice,  laughing  jackasses,  parrots,  chameleons, 
lizards,  a deer,  and  a raccoon. 

From  1862  to  187  0 Rossetti’s  powers  as  an  artist  were  at  their  best,  and 
many  of  his  finest  pictures  were  produced.  Among  the  most  famous  were 
‘Beata  Beatrix,’  ‘Joan  of  Arc,’  ‘The  Beloved,’  ‘Lilith,’  ‘Venus  Verticordia,’ 
‘The  Blue  Bower,’  ‘The  Loving  Cup,’  ‘Monna  Vanna,’  and  a portrait  of 
Mrs.  William  Morris,  who  was  one  of  his  favorite  and  most  frequent  mod- 
els. Although  never  courting  fame,  and  even  averse  to  sending  his  works  to 
exhibitions,  Rossetti  found  no  dearth  of  patrons  now,  and  his  affairs  having 
once  become  prosperous,  they  continued  to  be  so  for  many  years.  His  in- 
come in  1876  averaged  £ 3,7  25 , or  over  eighteen  thousand  dollars. 

The  publication  of  his  poems  in  1870  further  increased  his  now  estab- 
lisned  fame,  and  placed  him  among  the  foremost  of  contemporary  English 
poets.  The  appearance  of  the  volume  in  print,  however,  proved  provocative 
of  strong  adverse  as  well  as  favorable  criticism;  and,  in  October,  1871,  a 
hostile  article,  entitled  ‘The  Fleshly  School  of  Poetrv’  and  signed  Thomas 
Maitland  (soon  ascertained  to  be  a pseudonym  for  Mr.  Robert  Buchanan), 
appeared  in  The  Contemporary  Revieiu , in  which  certain  of  Rossetti’s  sonnets 
were  attacked  on  literary,  but  more  especially  on  moral,  grounds.  Rossetti 
at  once  published  a dignified  self-vindication,  in  The  Athenaum,  called  ‘The 
Stealthv  School  of  Criticism;’  and  here  the  matter  might  have  ended,  had  not 
Mr.  Buchanan’s  article  been  forthwith  printed  with  additions  in  pamphlet 
form.  The  effect  of  this  upon  Rossetti  was  out  of  all  proportion  to  its  in- 
trinsic importance.  His  health  for  some  time  past  had  been  impaired,  and 
suffering,  since  the  death  of  his  wife,  from  insomnia,  he  had  become  addicted 
to  the  use  of  chloral,  which  he  took  in  large  and  constantly  increasing  nightly 
doses.  In  this  broken  state  of  health  the  republication  of  ‘The  P'leshly 
School  of  Poetrv’  proved  sufficient  to  throw  his  mind  off  its  balance,  and  he 

[489] 


28 


MASTERS  IN  ART 


developed  such  an  excess  of  sensitiveness,  that,  a prey  to  the  morbid  fancies 
of  an  always  vivid  and  powerful  imagination,  he  now  saw  himself  the  object 
of  a conspiracy  for  crushing  his  fame  as  an  artist  and  as  a man,  and  hounding 
him  from  society.  Suspicious  of  even  his  closest  friends,  he  became  secluded 
in  his  habits,  and  at  times  depressed  and  moody. 

The  devotion  of  his  friends  did  much  to  palliate  his  sufferings,  however, 
and  no  one  was  ever  richer  in  friends  than  Rossetti,  who,  notwithstanding 
the  self-will  and  domineering  spirit  that  marked  his  character,  was  a man  of 
such  winning  personality  that  he  was  beloved,  nay,  well-nigh  adored,  by  a 
brilliant  circle  of  men,  who,  attracted  by  his  genius,  his  warmth  of  heart, 
and  the  charm  of  his  conversation,  looked  upon  him  not  as  the  spoiled  child 
that  he  often  showed  himself,  but  as  one  whom  it  was  an  honor  to  serve. 

There  were  times  in  these  last  years  of  Rossetti’s  life  when  the  cloud 
lightened,  and  he  seemed  in  a fair  way  to  regain  to  some  extent  his  broken 
health;  but  so  long  as  the  chloral  habit  continued — and  no  persuasions  of 
friends  or  injunctions  of  physicians  could  effectually  put  a stop  to  it  — there 
was  no  hope  of  lasting  recovery.  Nevertheless,  his  intellectual  faculties  seemed 
in  no  way  impaired,  and  to  these  years  some  of  his  finest  poems  are  to  be  as- 
signed. In  painting,  his  achievements  were,  as  a rule,  less  remarkable;  and 
many  of  the  single  figures,  of  which  he  produced  a great  number  at  this  period, 
are  marked  by  an  exaggeration  of  his  peculiar  mannerisms.  Some  few,  nev- 
ertheless, stand  out  as  preeminent,  notably  ‘Venus  Astarte,’  ‘The  Day- 
dream,’ ‘Pandora,’  ‘La  Bella  Mano,’  and  ‘Proserpine.’ 

In  1881,  accompanied  by  Mr.  Hall  Caine,  who  devoted  himself  to  Ros- 
setti during  the  last  years  of  the  painter-poet’s  life,  he  went  for  change  of  air 
and  scene  to  the  Vale  of  St.John,  near  Keswick ; but  he  soon  returned  to  Lon- 
don, more  broken  than  before  he  went  away,  and  a paralytic  shock  further 
reduced  his  strength.  When  sufficiently  recovered  from  its  effects  he  was 
taken  to  Birchington-on-the-Sea,  and  there,  tenderly  cared  for  by  his  family 
and  friends,  he  died,  on  Easter  Sunday,  April  9,  1882.  In  accordance  with 
his  wish,  his  funeral  was  conducted  with  the  utmost  simplicity,  and  none  but 
his  nearest  relatives  and  a few  intimate  friends  were  present  when  he  was 
buried  in  the  quiet  churchyard  of  the  seaside  village. 

DANTE  GABRIEL  ROSSETTI  was,  in  the  words  of  his  brother,  “es- 
sentially of  a dominant  turn,  in  intellect  and  in  temperament  a leader. 
He  was  impetuous  and  vehement,  and  necessarily  therefore  impatient;  easily 
angered  and  easily  appeased,  although  the  embittered  feelings  of  his  later  years 
obscured  this  amiable  quality  to  some  extent ; free-handed  and  heedless  of  ex- 
penditure, whether  for  himself  or  for  others;  in  family  affection  warm  and 
equable,  and  (except  in  relation  to  our  mother,  for  whom  he  had  a fondling  love) 
not  demonstrative.  Never  on  stilts  in  matters  of  the  intellect,  but  steeped  in  the 
sense  of  beauty,  and  loving,  if  not  always  practising,  the  good;  keenly  alive 
also  (though  many  people  seem  to  discredit  this  now)  to  the  laughable  as 
well  as  the  grave  and  solemn  side  of  things  ; superstitious  in  grain,  and  anti- 
scientific  to  the  marrow.  Extremely  natural  and  unaffected,  with  the  natu- 

[490] 


POSSETTI 


29 


ralism  characteristic  of  Italian  blood ; reserved  at  times,  yet  not  haughty ; des- 
ultory enough  in  youth,  diligent  and  persistent  in  maturity;  self-centered 
always,  and  brushing  aside  whatever  traversed  his  purpose  or  his  bent.  He 
was  very  generally  and  very  greatly  liked  by  persons  of  extremely  diverse 
character.  . . . 

“I  have  more  than  once  had  occasion  to  confute  a current  misconception 
that  Dante  Rossetti  could  be  described  as  a sentimentalist,  a dreamer,  a mys- 
tic, an  esthete,  and  the  like,  without  allowance  being  made  for  a considerable 
counterbalance  of  attributes  of  a very  opposite  character.  Certainly  he  had 
some  sentiment;  he  dreamed  several  dreams,  asleep  and  awake;  he  may  have 
been  a mystic  (though  I never  quite  understood  what  a mystic  is);  but  it  is 
not  the  less  true  that  he  was  full  of  vigor  and  buoyancy,  a quick-blooded, 
downright-speaking  man,  with  plenty  of  will  and  an  abundant  lack  of  hum- 
bug. People  who  take  an  interest  in  him  may  depend  upon  it  that  the  more 
they  learn  about  him — of  an  authentic  kind  — the  more  will  the  masculine 
traits  of  his  character  appear  in  evidence,  and  the  less  will  room  be  left  for 
the  notion  of  a pallid  and  anemic  ‘esthete,’  a candidate  for  the  sunflowers 
of  a Du  Maurier  design.  He  did  not  ‘yearn.’  All  this  is  said  without  at  all 
derogating  from  the  fact  that  in  the  very  essence  of  his  mind  and  temper- 
ament Dante  Rossetti  was  a poet.  . . . 

“The  appearance  of  my  brother  was  rather  Italian  than  English.  He  was 
of  rather  low  middle  stature,  say  five  feet  seven  and  a half.  Meager  in  youth, 
he  was  at  times  decidedly  fat  in  mature  age.  The  complexion,  clear  and  warm, 
was  also  dark,  but  not  dusky  or  somber.  The  hair  was  dark  and  silky;  the 
brow  grandly  spacious  and  solid;  the  full-sized  eyes  bluish-gray;  the  nose 
shapely,  with  an  aquiline  tendency  and  large  nostrils,  and  perhaps  no  detail 
in  the  face  was  more  noticeable  at  a first  glance  than  the  strong  indentation 
at  the  spring  of  the  nose  below  the  forehead;  the  mouth  moderately  well- 
shaped, but  with  a rather  thick  and  unmolded  under-lip;  the  chin  unremark- 
able; the  line  of  the  jaw  full,  rounded,  and  sweeping.  His  hips  were  wide, 
his  hands  and  feet  small;  the  hands  those  of  the  artist  or  author  type,  white, 
delicate,  plump,  and  soft  as  a woman’s.  His  gait  was  resolute  and  rapid  ; his 
general  aspect  compact  and  determined;  the  prevailing  expression  of  the  face 
that  of  a fiery  and  dictatorial  mind  concentrated  into  repose.  Some  people 
regarded  Rossetti  as  eminently  handsome;  few,  I think,  would  have  refused 
him  the  epithet  of  well-looking.  His  voice  was  deep  and  harmonious;  in  the 
reading  of  poetry,  remarkably  rich,  with  rolling  swell  and  musical  cadence.” 


CIjc  91rt  of  3\ossrttt 

SIDNEY  COLVIN  ‘MAGAZINE  OF  ART’  1883 

ROSSETTI  was  essentially  a romantic:  I have  even  heard  him  express  a 
- doubt  whether  familiar  themes  and  surroundings,  and  every-day  passions 
and  affections,  were  capable  in  the  modern  world  of  yielding  effective  mate- 

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30 


MASTERS  IN  ART 


rial  to  art.  In  the  midst  of  the  nineteenth  century  he  belonged  by  nature 
rather  than  by  effort  to  the  Middle  Age,  the  age  when  the  colors  of  life  were 
most  vivid  and  varied  and  the  sense  of  supernatural  agencies  most  alive. 

A mind  teeming  with  colored  and  mystical  imagery,  and  a sustained  high 
temperature  or  intense  habit  of  the  soul — these  were  the  gifts  with  which 
Rossetti  grew  up,  and  began,  before  the  close  of  boyhood,  to  attempt  both 
poetry  and  painting.  The  time  was  one  more  favorable  in  England  to  liter- 
ature than  to  the  sister  art,  and  we  find  that  the  poetry  of  Rossetti  was  re- 
markable, first  as  last,  for  the  qualities  of  technical  expertness  and  resource; 
but  with  his  work  as  a painter  the  case  is  different.  The  years  during  which 
he  grew  to  manhood  were  those  when  the  state  of  English  painting  was  at 
its  worst,  and  a spirit  like  the  young  Rossetti  felt  as  if  he  had  nothing  to 
learn  from  contemporary  teaching.  The  schism  which  he  headed  among  the 
students  of  his  time  was  a movement,  half,  indeed,  of  serious  and  enthusias- 
tic purpose,  but  half  also  of  whimsical  and  contemptuous  revolt  against  what 
he  held  to  be  the  brainlessness  and  triviality  of  the  time. 

Great  needs  to  be  the  courage  of  the  artist  who  thus  rebels  against  author- 
ity, and  declines  to  profit  by  the  teaching  of  his  time.  Let  the  seceder  pos- 
sess what  gifts  and  make  what  efforts  he  will,  his  work  is  certain  to  retain  a 
character  of  crudeness  and  inexperience.  When  we  look  at  the  work  of  the 
early,  the  original,  Preraphaelite  schools  of  Europe,  we  are  not  put  out  by 
faults  of  proportion  and  perspective,  because  we  know  that  the  laws  of  pro- 
portion and  perspective  had  not  yet  been  discovered;  but  when  we  look  at 
the  work  of  a modern  artist,  and  perceive  these  or  kindred  faults,  we  feel 
that  he  is  not  technically  up  to  the  standard  of  his  time;  that,  in  a word,  he 
is  in  some  degree  not  a master,  but  an  amateur.  Now  taking  the  paintings 
of  Rossetti  all  together,  it  is  impossible,  I think,  to  deny  that  they  bear  in 
some  measure  to  the  last  this  stamp  of  technical  inexperience  and  amateur- 
ship.  Some  brilliant  and  original  excellences,  even  of  the  technical  kind,  he 
indeed  in  the  course  of  practice  acquired;  but  they  are  rarely  quite  harmo- 
niously balanced,  or  free  from  an  admixture  of  failure  in  other  directions. 
To  some  of  Rossetti’s  contemporaries,  his  vivid  realization  of  medieval  life 
and  legend,  his  glowing  and  rich  vein  of  symbolism,  were  things  that  spoke 
with  a peculiar  and  thrilling  power.  In  their  eyes  what  mattered  the  artist’s 
shortcomings,  provided  he  was  capable  of  thus  stirring  them  to  the  deepest 
fibers  of  their  souls?  To  others,  in  whom  the  same  fibers  are  less  awake,  it 
must  be  expected  that  of  such  work  as  this  the  weaknesses,  exaggerations, 
and  self-repetitions  will  alone  or  principally  be  perceptible.  . . . 

Rossetti’s  artistic  career  as  a painter  may  be  most  conveniently  divided, 
I think,  into  three  periods.  The  first  period  extends  from  the  artist’s  boy- 
hood to  about  his  thirty-fourth  year,  that  is  from  1847  to  1862;  the  second 
from  1862  to  1870;  the  third  from  1870  till  his  death.  In  the  first  period 
Rossetti’s  aim  in  art  was  almost  entirely  of  the  dramatic  and  narrative  kind; 
the  subject  and  inspiration  are  sometimes  Christian,  sometimes  literary  and 
romantic;  very  often  they  are  drawn  directly  from  Dante,  and  only  in  one 
important  instance,  his  never  finished  picture  of ‘Found,’  from  modern  life. 

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ROSSETTI 


31 


To  sum  up  generally  the  characteristics  of  this  period,  the  first  are  vivid- 
ness and  ingenuity  of  dramatic  presentment,  the  idea  so  predominating  over 
the  matter  that  actions  are  allowed  to  appear  as  strained,  and  compositions 
as  naive,  as  they  please,  provided  only  the  emotional  and  intellectual  points 
are  driven  home.  These  are  among  the  qualities  whereby  Rossetti’s  work  is 
obviously  allied  to  that  of  the  Middle  Age;  other  characteristics  are  his  en- 
joyment of  the  quaint  invention  of  costumes  and  furniture,  and  the  weight  of 
symbolical  meaning  which  he  makes  every  circumstantial  detail  and  acces- 
sory bear.  Others,  again,  are  his  neglect  of  the  elements  of  chiaroscuro  and 
atmosphere  in  painting,  and  his  delight  in  and  insistence  on  the  element  of 
color.  Many  of  the  little  pictures  of  this  time  flash  and  glow  like  jewels 
or  the  fragments  of  some  gorgeous  painted  window.  Always  interesting  by 
their  stamp  of  poetry  and  romance,  thrilling  by  their  poignancy  of  emotion, 
and  originality  and  vividness  of  color,  these  were  the  pictures  that  had  so 
powerful  an  effect  on  the  minds  of  a few  of  Rossetti’s  contemporaries  and 
juniors.  Aided  by  his  own  magnetic  personality,  by  his  impulsive  and  gen- 
erous temper,  and  his  persuasive  and  authoritative  power  of  speech,  the  work 
he  did  at  this  time  made  him,  to  every  spirit  susceptible  of  imaginative  and 
poetical  influences  with  whom  he  came  in  contact,  a focus  of  inspiration 
such  as  no  other  man  has  been  in  England  in  our  time. 

During  the  next  period,  from  1862  onwards,  the  dramatic  and  narrative 
aims  wh;ch  had  hitherto  predominated  in  Rossetti’s  painting  gradually  ceased 
to  inspire  it.  A few,  indeed,  of  his  finest  small  water-colors  in  the  old  vein, 
with  some  added  freedom  of  action  and  depth  of  variety  of  tone,  belong  to 
this  period,  but  the  characteristic  products  of  the  new  time  are  single  female 
heads  and  half-figures  in  oil.  Such  subjects  Rossetti  generally  repeated  in 
more  than  one  different  version,  or  replica,  and  the  more  important  of  them 
he  always  carefully  worked  out  first  in  the  shape  of  a cartoon  in  colored 
chalk.  Occasionally  the  theme  is  still  suggested  by  literature,  as  ‘ Beata  Bea- 
trix’ bv  Dante,  and  ‘The  Beloved’  by  the  Song  of  Solomon;  but  more  com- 
monly it  is  of  the  artist’s  own  invention.  Rossetti’s  invention  in  this  order 
of  subjects  is  of  two  kinds.  Either  he  simply  takes  some  type  of  beauty  that 
interests  him,  attires  her  in  gorgeous  and  far-fetched  ornaments,  and  strains 
all  his  powers  to  express,  as  he  feels  it,  the  mere  sensuous  charm  of  woman- 
hood and  rich  array;  or  else  he  invests  her  with  a halo  of  intellectual  attri- 
butes and  secondary  meanings,  making  of  herself  a personification  and  a sym- 
bol of  everything  that  adorns  her. 

The  productions  of  this  class  and  period  certainly  include  all  that  is  most 
technically  accomplished,  if  not  what  is  most  strikingly  interesting  and  sug- 
gestive, in  Rossetti’s  work  as  a painter.  He  by  degrees  acquired  breadth  and 
ease  and  a real  mastery  in  the  design  of  these  single  female  half-figures  and 
heads.  Depth  of  tone  and  chiaroscuro  he  as  yet  did  not  seek,  but  he  attacked 
and  vanquished  the  most  daring  problems  of  color  in  equal  and  diffused  light. 
For  the  combination  of  keen  and  flashing  intensity  with  mastery  and  delight- 
fulness of  quality,  his  painting  of  tissues  and  jewels  and  flowers  at  this  period 
stands,  it  is  no  extravagance  to  sav,  alone  in  art. 

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MASTERS  IN  ART 


In  flesh-painting  Rossetti’s  manner  is  less  assured,  but  in  those  faces  which 
he  has  not  afterwards  spoiled  by  retouching  he  obtained  a fine  quality  of 
bloom  and  charm,  with  much  delicacy  of  modeling  and  shadow.  The  gloss 
and  mystery  of  hair,  also,  Rossetti  could  render  with  admirable  cunning ; 
but  what  he  most  cared  for  in  the  face  was  the  expression  of  soul,  and  ac- 
cordingly it  is  on  the  organs  of  the  soul,  the  eyes  and  mouth,  that  his  chief 
efforts  are  concentrated.  In  the  setting  and  coloring  and  expression  of  the 
feminine  eye  he  exhibits  an  extraordinary  mastery.  But  w'ith  mouths  he  was 
much  less  successful. 

The  great  change,  as  it  seems  to  me,  happens  about  187  0,  when  his  works 
exhibit  for  the  most  part  a manifest  falling-off  in  artistic  sanity  and  self-con- 
trol. They  are  always,  indeed,  the  work  of  a poet,  of  a man  who  perceives 
things  through  a medium  of  strong  imaginative  emotion,  and  who  has  striven, 
in  these  visionary  shapes,  to  express  a profound  and  fervent  sense  of  the 
power  of  beauty  and  sex,  and  of  the  awe  and  mystery  of  life.  There  is  al- 
ways a fine  intention  to  be  discerned  in  them;  in  the  conception,  an  abun- 
dant wealth  of  ideas  of  that  involved,  symbolical  kind  which  lend  themselves 
equally  to  verbal  and  to  pictorial  expression,  and  cannot  be  got  perfectly  in- 
telligible in  either;  in  the  realization,  a striving  after  sweep  and  grandeur  of 
design,  with  impressiveness  of  type  and  splendor  and  suggestiveness  of  de- 
tail. But  the  artist  has  become  the  slave  of  his  own  predilections.  He  has 
found  a particular  cast  of  beauty,  with  lips  at  once  full  and  pining,  and  eyes 
overshadowed  by  a great  thunder-cloud  of  hair — he  has  found  this,  and  the 
length  of  throat,  the  litheness  of  limb  and  sinuousness  of  pose  that  go  with 
it,  so  consonant  to  his  imaginative  mood  that  he  repeats  them  again  and  again, 
sometimes  with  a mechanical  insistence  and  exaggeration,  especially  in  the 
drawing  and  coloring  of  the  mouth,  that  almost  degenerate  into  caricature. 
Technically  he  aims  more  and  more  at  depth  of  tone,  and  at  the  same  time 
his  sense  of  color  becomes  sickbed.  In  the  flesh,  particularly,  he  in  many 
pictures  of  this  date  gets  a morbid  tint  into  the  shadows,  and  a dragging  and 
stringy  quality  into  the  handling,  that  stand  in  the  strongest  contrast  to  the 
work  of  his  healthier  days.  In  this  new  series  of  mystic  and  symbolic,  or 
merely  sumptuous  and  fanciful  female  incarnations  painted  in  the  last  twelve 
years  of  Rossetti’s  life,  there  seems  indeed  to  be  only  one,  and  that  is  the 
‘Proserpine,’  fit  to  be  chosen  as  a thoroughly  adequate  and  worthy  example 
of  his  powers. 

EDOUARD  ROD  ‘ETUDES  SUR  LE  XIXe  SIECLE’ 

IN  common  with  the  great  painters  of  the  Italian  Renaissance,  Rossetti 
preferred  to  paint  man  rather  than  nature;  but — and  herein  his  northern 
spirit  showed  itself — it  was  not  the  outer  physical  man,  “the  human  animal” 
to  use  Taine’s  phrase,  but  the  inner,  spiritual,  man  that  attracted  him.  Care- 
less of  the  merely  external  beauties  of  the  human  body,  he  sought  primarily 
for  expression,  and  chose  for  his  own  that  type  of  physical  beauty  which 
seemed  to  him  best  calculated  to  reveal  it. 

His  religion  was  not  objective  — not  based  upon  a faith  in  the  supernatural, 

[494] 


ROSSETTI 


33 


upon  a transcendental  ideal,  a finite  need  of  some  fixed  standard  for  life’s 
government;  it  was  a wholly  subjective  thing,  a pure  emotion,  an  ecstasy. 
His  soul  was  one  of  those  which  are  capable  of  such  intense  and  passionate 
feeling  as  to  inwrap  things  terrestrial  and  things  supernal  in  one  and  the 
same  emotion,  and  thus  to  obliterate  distinctions  between  the  real  and  the 
imaginary.  This  type  of  emotion  had  almost  entirely  died  out  during  the 
formal  seventeenth  and  eighteenth  centuries,  but  Rossetti  brought  it  once 
more  into  the  service  of  literature  and  art  in  his  sonnet-cycle  called  ‘The 
House  of  Life.’  Therein  we  see  the  poet  struggling  to  express  the  inexpress- 
ible; but  now  and  again,  although  the  finite  sense  of  the  words  themselves 
is  often  intangible,  they  suddenly  open  to  the  imagination  glimpses  into  the 
infinite,  where  thought,  freed  from  the  prison-house  of  reality,  seems  to  have 
found  liberty  in  a dream  world,  where  unsubstantial  images,  like  summer 
clouds,  melt,  are  transformed  and  re-created  into  other  shapes  before  we  can 
grasp  them,  till  one  feels  that  he  is  in  a vision  universe,  with  nothing  of  the 
mundane  left  to  tie  to.  . . . 

Rossetti  himself  never  quitted  this  dream  w’orld.  Whether  he  expressed 
himself  in  line  and  color  or  in  word  and  cadence,  the  character  of  his  inspira- 
tion remained  constantly  the  same.  His  pictures,  like  his  poems,  are  visions.  In 
the ‘Dante’s  Dream,’  the  ‘ Beata  Beatrix,’ ‘The  Blessed  Damozel,’ and  in 
how  many  more,  the  figures  have  an  effect  of  immobility,  of  silence,  of  sus- 
pense in  motion,  that  makes  them  resemble  those  dream  images  which  we 
can  never  quite  clearly  visualize,  because  they  define  themselves  upon  our 
imaginations  rather  than  upon  our  retinas. 

Sometimes  he  delights  to  surround  his  figures  with  brilliant  accessories,  to 
scatter  flowers  about  them  (roses  above  all,  which  he  painted  with  a rare  per- 
fection), to  drape  them  in  rich  Venetian  stuffs,  the  hues  of  which  recall  Gior- 
gione— and  yet  no  matter  how  rich  or  real  these  surroundings,  they  never 
lose  a supernatural  quality,  an  indefinite  something  that  betrays  the  fact  that 
they  have  no  real  existence,  and  that  even  when  fixed  thus  upon  the  canvas 
they  are  still  part  and  parcel  of  the  painter’s  soul.  Rossetti’s  subjects,  be  they 
religious,  profane,  or  mythologic,  were  for  him  no  more  than  pretexts.  How- 
ever diverse  the  forms  in  which  he  bodies  them  forth,  w'e  know  that  he  is 
always  painting  his  own  dream.  . . . 

Throughout  his  entire  achievement,  in  painting  as  in  verse,  Rossetti  re- 
mained wholly  a poet.  His  drawing  was  often  marred  by  salient  errors.  Al- 
most all  his  women  have  over-large  hands;  too  often  the  stuff’s  which  drape 
them  seem  but  half  to  conceal  strange  physical  imperfections — an  arm  too 
short,  or  a defective  shoulder — although  the  coloring  atones  for  any  such 
negligences  in  drawing.  Rossetti’s  art  as  a painter,  however,  lies — above  any 
such  question  of  technique  — in  the  supreme  intensity  of  expression  which 
he  succeeded  in  giving  his  figures,  yet  without  recourse  to  violent  gestures 
or  movements.  And  it  is,  it  seems  to  me,  in  this  expressiveness  that  the 
artistic  value  of  his  pictures  resides,  for  there  can  be  no  doubt  as  to  their 
poetic  value.  He  realized  that  in  an  overwhelmingly  intellectual  epoch  paint- 
ing itself  should  conform  to  the  general  current,  and  pursue  another  ideal  than 

[495] 


34 


MASTERS  IN  ART 


that  of  pure  form,  and  that,  moreover,  this  ideal  could  be  none  other  than 
that  o {expression.  But  he  saw,  further,  that  the  calmest  attitude  and  the  slow- 
est gesture  were  perfectly  compatible  with  a most  vivid  intensity  of  inner  life, 
and  thus  he  restored  to  art  qualities  which  it  had  lacked  since  the  days  of  the 
Renaissance.  — from  the  french 

HARRY  QU1LTER  ‘PREFERENCES  IN  ART’ 

IX)R  Rossetti’s  fame  it  is  probably  unfortunate  that  he  did  not  limit  him- 
’ self  to  poetry,  or  that  he  did  not  begin  painting  earlier,  study  it  more  rig- 
orously, and  confine  himself  to  it  more  entirely;  but  for  the  world  at  large  I 
doubt  whether  he  could  have  done,  being  what  he  was,  better  work.  He  was  to 
all  young  artists  and  young  writers  a tower  of  strength,  a light  to  encourage 
them  to  despise  conventions,  and  to  give  up  their  lives  to  their  art.  He  was, 
in  fact,  a standing  protest  against  the  idols  of  the  market — an  influence  that 
made,  as  Arnold  would  say,  for  artistic  righteousness.  . . . 

What  place  in  the  history  of  art  and  literature  Rossetti’s  achievements  will 
eventually  hold  is  difficult  even  to  surmise,  but  one  or  two  points  may  be 
confidently  asserted.  In  the  future  he  will  stand  less  as  the  painter-poet  than 
as  the  leader  of  the  great  artistic  movement  of  England  in  the  nineteenth 
century,  his  work  will  be  regarded  and  prized  even  more  for  what  it  effected 
than  for  its  intrinsic  merit.  . . . 

In  speaking,  therefore,  of  his  art,  and  trying  to  estimate  its  worth,  we  must 
always  bear  in  mind  that,  as  a set-ofF  against  many  eccentricities  and  defi- 
ciencies of  treatment,  and  many  limitations  of  thought  and  feeling,  we  have 
this  fact:  that  it  was  powerful  to  trouble  the  artistic  Bethesda  to  the  very 
depths  of  its  sluggish  waters,  and  to  set  artists  upon  new  tracks  of  execution 
and  new  impulses  of  thought.  Surely  no  mean  praise  to  a painter  that,  un- 
der his  awakening  power,  other  painters  did  better  and  more  vital  work;  and 
that  the  forward  impulse  in  art  which  he  was  mainly  instrumental  in  crea- 
ting bids  fair  to  widen  out  into  issues  of  which  no  one  can  at  present  pre- 
dict the  end. 


Che  H>orUo  of  Ixossrttt 

DESCRIPTIONS  OF  THE  PLATES 

‘ ECC  E ANC1LLA  DOMINI'  PLATE  I 

| 'HE  best  of  Rossetti’s  Preraphaelite  work  during  the  two  years  subse- 
A quent  to  1848,”  writes  Mr.  Marillier,  “is  the  ‘ Ecce  Ancilla  Domini’ 
Behold,  the  Handmaid  of  the  Lord  ’),  a sequel  to  his  ‘ Girlhood  of  Mary  Vir- 
gin,’ and  the  realization  of  the  last  lines  of  the  sonnet  written  for  that  picture: 

‘So  held  she  through  her  girlhood;  as  it  were 
An  angel-watered  lily,  that  near  God 

Grows  and  is  quiet.  Till,  one  dawn  at  home, 

[496] 


ROSSETTI 


35 


She  woke  in  her  white  bed,  and  had  no  fear 
At  all, — yet  wept  till  sunshine,  and  felt  awed: 

Because  the  fullness  of  the  time  was  come.’ 

There  is  an  especial  charm  in  this  new  conception  of  the  oft-depicted  scene  — 
the  angel,  not  gay  with  peacock  wings  and  trappings  as  usual,  but  grave  and 
simply  clad;  the  Virgin,  not  raised  triumphant  on  a throne,  nor  impossibly 
bedecked  with  jewels,  but  waked  from  slumber  in  the  early  dawn,  and  crouch- 
ing half  in  fear  and  awe  upon  a pallet.” 

The  main  tone  of  the  picture  is  white.  The  walls  of  the  bare  chamber 
are  white,  so  is  the  Virgin’s  sculpture-like  drapery,  so  likewise  the  coverings 
of  the  bed  and  the  long  garment  of  the  archangel,  who  holds  a white  annun- 
ciation lily  in  his  hand.  A golden  halo  surrounds  his  auburn  hair,  and  about 
his  feet  are  pale  yellow  flames.  Touches  of  bright  color  are  given,  however, 
in  the  red  embroidery  at  the  foot  of  the  bed,  and  in  the  blue  curtain  behind 
the  figure  of  the  Virgin,  whose  long  red  hair  is  relieved  by  a gold  aureole. 
On  the  wall  above  is  a lamp,  its  flame  dimmed  by  the  flood  of  early  morn- 
ing light  which  fills  the  room,  and  through  the  open  window,  beyond  which 
we  see  the  blue  sky  and  a single  green  palm-tree,  the  Holy  Spirit  enters  in 
the  form  of  a dove. 

The  picture  is  now  in  the  National  Gallery  of  British  Art  (Tate  Gallerv), 
London. 


‘THE  GIRLHOOD  OF  MARY  VIRGIN’  PLATE  II 

IN  1848  Rossetti,  inspired  by  the  new  ideas  embodied  in  the  Preraphaelite 
movement,  began  work  upon  his  first  oil-picture,  ‘The  Girlhood  of  Mary 
Virgin.’  Although  it  shows  in  some  respects  a deficiency  in  technical  train- 
ing, this  work,  full  of  delicate  sentiment  and  replete  with  symbolism,  is  a 
remarkable  production  for  a young  man  of  twenty. 

The  scene  represents  a room  in  the  home  of  the  Virgin,  who  with  her 
mother,  St.  Anna,  is  seated  at  an  embroidery-frame  engaged  in  copying  the 
tall  white  lily,  emblem  of  purity,  that  is  before  her.  Needle  in  hand,  she 
pauses  in  her  work,  her  gaze  fixed  upon  a child-angel  with  rose-colored  wings, 
invisible  save  to  her,  who  stands  beside  the  lily.  Beneath  the  pot  in  which 
the  flower  grows  are  six  books,  each  inscribed  with  the  name  of  a cardinal 
virtue,  the  dominant  idea  of  the  picture  being  that  the  Virgin  advances  in 
purity  and  virtue  until  fitted  to  become  the  bride  and  mother  of  Deity. 

Mary’s  golden  hair  and  gray  dress  with  its  touches  of  green  at  the  wrists, 
and  St.  Anna’s  nun-like  garb  of  dark  green  and  brown  with  a head-covering 
of  dull  red,  are  relieved  against  an  olive-green  curtain,  beyond  which  is  seen 
a garden  where  St.  Joachim,  the  Virgin’s  father,  is  training  a symbolically 
fruitful  vine,  the  young  tendrils  of  which  form  the  figure  of  a cross.  A white 
dove,  symbolizing  the  Holy  Spirit,  has  alighted  on  a trellis,  and  on  the  floor 
at  Mary’s  feet  lie  palm  branches  and  slips  of  thorn  emblematic  of  the  Passion. 
The  picture,  now  owned  by  Mrs.  Jekyll,  was  first  exhibited  in  1849.  It 

[ 497  ] 


— 


36  MASTERS  I N ART 

is  painted  on  a wooden  panel,  and  is  signed  with  the  artist’s  name  followed 
by  the  initials  “P.  R.  B.” 

Rossetti  painted  his  mother’s  face  for  St.  Anna,  and,  for  the  Virgin,  took 
for  his  model,  as  in  the  ‘Ecce  Ancilla  Domini,’  his  sister  Christina. 

‘THE  BLESSED  DAMOZEL’  PLATE  III 

THE  version  of  this  subject  here  reproduced  was  painted  by  Rossetti  in 
1879,  and  is  a replica  of  the  original  picture  finished  some  two  years 
earlier.  The  principal  difference  between  the  two  versions  is  that  in  the  back- 
ground of  the  first  Rossetti  introduced  countless  figures  of  embracing  lovers, 
and  by  some  critics  it  is  considered  the  superior  work,  but  the  expression  of 
the  face  of  the  ‘Blessed  Damozel’  in  this  second  version  is  more  beautiful. 

The  subject  illustrates  Rossetti’s  poem  of  the  same  name,  written  many 
years  before,  in  which  he  describes  the  expectant  longing  of  a young  girl  in 
heaven  for  her  lover,  whom  she  had  parted  from  on  earth. 

“The  blessed  damozel  leaned  out 
From  the  gold  bar  of  Heaven; 

Her  eyes  were  deeper  than  the  depth 
Of  waters  stilled  at  even ; 

She  had  three  lilies  in  her  hand. 

And  the  stars  in  her  hair  were  seven.” 

The  figure  of ‘The  Blessed  Damozel’  is  life-size.  She  is  clad  in  a gar- 
ment of  pale  green  and  her  hair  is  deep  gold.  Below  the  bar  on  which  she 
leans  are  two  angels,  with  wings  of  light  reddish  purple,  holding  branches  of 
palm;  and  in  the  lowest  compartment  of  all  the  earthly  lover  is  represented. 
The  picture  is  now  owned  by  the  Hon.  Mrs.  O’Brien. 

‘PROSERPINE’  PLATE  IV 

AMONG  Rossetti’s  works  none  is  more  celebrated  than  this  picture  of 
l ‘Proserpine.’  There  are  several  replicas  of  the  subject,  and  some  un- 
certainty exists  as  to  which  may  be  regarded  as  the  original  painting.  The 
picture  reproduced  in  plate  iv,  formerly  in  the  Leyland  Collection,  and 
now  owned  by  Mr.  W.  Graham  Robertson,  is  dated  1874.  In  one  of  his 
letters  Rossetti  has  himself  explained  the  subject.  ‘‘The  figure,”  he  writes, 
‘‘represents  Proserpine  as  Empress  of  Hades.  After  she  was  conveyed  by 
Pluto  to  his  realm,  and  became  his  bride,  her  mother,  Ceres,  importuned  Ju- 
piter for  her  return  to  earth,  and  he  was  prevailed  on  to  consent  to  this,  pro- 
vided only  she  had  not  partaken  of  any  of  the  fruits  of  Hades.  It  was  found, 
however,  that  she  had  eaten  one  grain  of  a pomegranate,  and  this  enchained 
her  to  her  new  empire  and  destiny.  She  is  represented  in  a gloomy  corridor 
of  her  palace,  with  the  fatal  fruit  in  her  hand.  As  she  passes  a gleam  strikes 
on  the  wall  behind  her  from  some  inlet  suddenly  opened,  admitting  for  the 

[498] 


ROSSETTI 


37 


moment  the  light  of  the  upper  world;  and  she  glances  furtively  towards  it, 
immersed  in  thought.  The  incense-burner  stands  beside  her  as  the  attribute 
of  a goddess.  The  ivy-branch  in  the  background  may  be  taken  as  a sym- 
bol of  clinging  memory.” 

The  life-size  figure  of  Proserpine  is  clad  in  a steel-blue  robe,  and  the  heavy 
masses  of  hair  that  fall  over  her  shoulders  are  brownish-black.  The  won- 
der of  the  picture  is  in  the  pale  face  with  its  moody  eyes  and  its  expression 
of  tragic  despair. 


•dante’s  dream’  plate  v 

THIS  celebrated  picture,  painted  in  1869—7  1,  is  the  only  one  of  Ros- 
setti’s early  designs  that  was  executed  on  a scale  commensurate  with  its 
importance.  Although  in  technical  qualities  not  equal  to  some  of  his  other 
works,  the  picture  is  nevertheless  so  profoundly  impressive  in  its  conception 
that  it  is  held  by  many  to  be  the  artist’s  masterpiece.  The  subject  is  from 
Dante’s  ‘Vita  Nuova,’  in  which  the  poet  dreams  that  his  loved  lady,  Beatrice, 
has  been  taken  from  this  life,  and  in  imagination  he  goes  to  look  upon  her 

“Then  Love  said,  ‘Now  shall  all  things  be  made  clear: 

Come,  and  behold  our  lady  where  she  lies.’ 

These  ’wildering  phantasies 

Then  carried  me  to  see  my  lady  dead. 

Even  as  I there  was  led. 

Her  ladies  with  a veil  were  covering  her ; 

And  with  her  was  such  very  humbleness 
That  she  appeared  to  say,  ‘I  am  at  peace.  ’ ” 

The  scene  represented  is,  to  quote  Rossetti’s  own  words,  “a  chamber  of 
dreams,  strewn  with  poppies,  where  Beatrice  is  lying  on  a couch  recessed  in 
the  wall,  as  if  just  fallen  back  in  death.  The  winged  figure  of  Love,  in  red 
drapery,  leads  by  the  hand  Dante,  who  walks  conscious  but  absorbed  as  in 
sleep;  in  his  other  hand  Love  carries  his  arrow  pointed  at  the  dreamer’s  heart; 
as  he  reaches  the  bier  Love  bends  for  a moment  over  Beatrice  with  the  kiss 
which  her  lover  has  never  given  her,  while  the  two  green-clad  dream  ladies 
hold  the  pall  full  of  may-bloom  suspended  for  an  instant  before  it  covers  her 
face  forever.” 

On  both  sides  of  the  picture,  through  the  doorways  that  open  on  the 
streets  of  Florence,  deserted  now  for  grief,  birds  of  scarlet  plumage  fly  in  and 
out,  typifying  the  presence  of  the  spirit  of  love.  T he  figure  of  Beatrice  is 
robed  in  white,  and  her  pale  face  is  framed  by  the  long  golden  hair  that  falls 
over  her  pillow.  Dante  is  in  black  with  touches  of  purple — a somber  con- 
trast to  the  flame-colored  figure  of  Love. 

The  picture  measures  about  seven  feet  high  by  ten  and  a half  feet  wide. 
It  is  now  in  the  Walker  Art  Gallery,  Liverpool. 

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38 


MASTERS  IN  ART 


•THE  SEED  OF  DAVID’  [DETAIL]  PLATE  VI 

IN  1856  Rossetti  received  a commission  to  paint  an  altar-piece  in  three 
compartments  for  the  cathedral  of  LlandafF,  Wales,  then  under  process 
of  restoration.  The  subject  selected  by  the  artist  for  this,  his  largest  work, 
was  ‘The  Seed  of  David,’  showing  in  the  central  portion  (reproduced  in  plate 
vi)  the  worship  of  the  infant  Christ  by  a shepherd  and  a king,  and  in  each 
of  the  side  divisions  a figure  of  David,  in  one  as  a shepherd-boy  with  crook 
and  sling,  and  in  the  other  as  a king.  The  work  was  not  finished  until  1 864, 
and  four  or  five  years  later  was  retouched  by  Rossetti.  The  treatment  is  dec- 
orative and  the  color  deep  and  rich  in  tone. 

In  a letter  written  by  Rossetti  in  1864  he  gives  the  following  description 
of  this  important  composition:  “It  is  intended,”  he  says,  “to  show  Christ 
sprung  from  high  and  low  in  the  person  of  David,  who  was  both  shepherd 
and  king,  and  worshiped  by  high  and  low — a king  and  a shepherd — at 
his  nativity.  Accordingly  in  the  center-piece  an  angel  is  represented  leading 
the  shepherd  and  the  king  to  worship  in  the  stable  at  the  feet  of  Christ,  who 
is  in  his  mother’s  arms.  She  holds  his  hand  for  the  shepherd,  and  his  foot  for 
the  king,  to  kiss  — showing  the  superiority  of  poverty  over  riches  in  the  eyes 
of  Christ.  There  is  an  opening  all  round  the  stable,  through  which  angels 
are  looking  in,  whilst  other  angels  are  playing  on  musical  instruments  in  a 
loft  above.” 


‘BEATA  BEATRIX’  PLATE  VII 

THIS  well-known  picture,  now  in  the  National  Gallery  of  British  Art 
(Tate  Gallery),  London,  was  painted  by  Rossetti  in  1863,  not  long 
after  the  death  of  his  wife,  “ with  portraiture  of  her  so  faithfully  reminiscent,” 
writes  his  brother,  “that  one  might  almost  say  she  sat,  in  spirit  and  to  the 
mind’s  eye,  for  the  face.”  Several  replicas  of  the  picture  were  painted  by 
Rossetti,  but  always  reluctantly,  and  none  proved  equal  in  quality  to  the  orig- 
inal version  here  reproduced. 

The  following  words  of  the  painter  himself  are  perhaps  the  best  description 
of  the  work:  “The  picture  illustrates  the  ‘Vita  Nuova,’ embodying  symbol- 
ically the  death  of  Beatrice  as  treated  in  that  work.  The  picture  is  not  in- 
tended at  all  to  represent  death,  but  to  render  it  under  the  semblance  of  a 
trance,  in  which  Beatrice,  seated  at  a balcony  overlooking  the  city  of  Flor- 
ence, is  suddenly  rapt  from  earth  to  heaven. 

“You  will  remember  how  Dante  dwells  on  the  desolation  of  the  city  in 
connection  with  the  incident  of  her  death,  and  for  this  reason  I have  intro- 
duced it  as  my  background,  and  made  the  figures  of  Dante  and  Love  pass- 
ing through  the  street  and  gazing  ominously  on  one  another,  conscious  of 
the  event;  while  the  bird,  a messenger  of  death,  drops  the  poppy  between 
the  hands  of  Beatrice.  She,  through  her  shut  lids,  is  conscious  of  a new 
world,  as  expressed  in  the  last  words  of  the  ‘Vita  Nuova’ — ‘ I hat  blessed 
Beatrice  who  now  gazeth  continually  on  His  countenance  who  is  blessed 
throughout  all  ages.”’ 


[500] 


ROSSETTI 


39 


The  life-size  figure  of  Beatrice  is  clothed  in  a grayish  purple  robe  with 
overgarment  of  green.  The  plumage  of  the  bird  bearing  in  his  bill  a pale 
yellow  poppy,  symbol  of  death,  is  crimson,  as  is  also  the  figure  of  Love  seen 
in  the  distance.  A sun-dial  points  to  the  hour  of  the  death  of  Beatrice  on  that 
fateful  ninth  of  June,  1290. 

“Into  this  picture,”  writes  Mr.  Marillier,  “Rossetti  has  put  the  very  best 
of  himself — imagination,  feeling,  color,  beauty,  and  perfect  harmony.  Not 
a flaw,  not  an  ugly  touch,  mars  the  repose  of  that  upturned  entranced  face, 
the  purest  of  all  the  images  that  have  made  his  wife  immortal.” 

•PAOLO  AND  FRANCESCA’  PLATE  VIII 

THE  subject  of  this  picture  is  a scene  from  the  story  of  Francesca  da 
Rimini,  daughter  of  Guido  di  Polenta,  who,  being  married  to  Lanciotto, 
son  of  Malatesta  di  Rimini,  fell  in  love  with  her  husband’s  brother,  Paolo, 
and  with  her  lover  was  put  to  death  by  Lanciotto  upon  his  discovery  of  their 
guilty  passion. 

In  Rossetti’s  picture  the  lovers  are  seated  before  a window  bearing  on  its 
panes  the  arms  of  Malatesta.  Paolo  is  clad  in  red  and  Francesca  in  green. 
Red  roses  are  on  the  floor  at  their  feet,  a rose-bush  grows  at  their  right,  and 
a red  lute  hangs  on  the  wall  beside  them.  In  the  midst  of  their  reading  the 
lovers  have  paused  to  give  the  fatal  kiss  that  sealed  their  doom.  On  the  frame 
of  the  picture  this  passage  from  Canto  v of  Dante’s  ‘Inferno’  is  inscribed: 

“One  day 

For  our  delight  we  read  of  Launcelot, 

How  him  love  thralled.  Alone  we  were,  and  no 
Suspicion  near  us.  Oft  times  by  that  reading 
Our  eyes  were  drawn  together,  and  the  hue 
Fled  from  our  altered  cheek.  But  at  one  point 
Alone  we  fell.  When  of  that  smile  we  read. 

The  wicked  smile  so  rapturously  kiss’d 
By  one  so  deep  in  love,  then  he,  who  ne’er 
From  me  shall  separate,  at  once  my  lips 
All  trembling  kiss’d.” 

The  picture,  painted  in  water-color,  is  now  owned  by  Mr.  W.  R.  Moss, 
of  Bolton,  England.  It  is  a replica,  possibly  an  early  study,  of  one  of  the 
compartments  of  a three-part  picture  painted  by  Rossetti  in  1855,  in  which 
in  addition  to  the  subject  here  shown  he  represents,  in  another  compartment, 
the  souls  of  the  lovers  clasped  in  each  other’s  arms  floating  in  the  flames  of 
hell.  Between  these  two  divisions  stand  the  figures  of  Dante  and  Virgil. 

‘THE  BELOVED’  PLATE  IX 

THIS  picture  ‘The  Beloved,’  sometimes  called  ‘T  he  Bride,’  considered 
by  many  to  be  Rossetti’s  finest  work,  was  begun  in  1864,  and  two  years 
later  delivered  to  its  purchaser,  Mr.  Rae,  the  present  owner.  In  187  3,  how- 

[501] 


40 


MASTERS  IN  ART 


ever,  Rossetti  requested  that  this  his  “pet  among  his  pictures”  should  be  re- 
turned to  him  for  certain  changes  that  he  wished  to  make  in  the  color  and 
in  the  composition.  Most  of  the  published  reproductions  of  the  picture,  how- 
ever, are  taken  from  photographs  made  prior  to  this  revision,  and  do  not  rep- 
resent it  as  it  now  appears,  and  as  it  is  shown  in  plate  ix.  In  the  splendor 
of  its  glowing  color  this  work  is  unsurpassed  by  any  of  the  artist’s  produc- 
tions. “I  mean  it  to  be  like  jewels,”  he  said;  and  certainly  no  canvas  could 
be  more  jewel-like. 

The  subject  represents  the  bride  of  the  ‘Song  of  Solomon,’  attended  by 
her  women,  advancing  to  meet  her  bridegroom.  “I  am  my  beloved’s  and  mv 
beloved  is  mine,”  says  the  Song.  The  bride  is  arrayed  in  a splendid  robe  of 
apple-green  silk  with  flowing  sleeves  richly  embroidered  in  gold  and  red.  Be- 
hind her  are  four  dark-haired  maidens,  one  of  whom  carries  clusters  of  bright- 
colored  japonica  blossoms  and  another  brownish  yellow  tiger-lilies,  while  be- 
fore her,  his  jet-like  skin  serving  as  a foil  to  her  own  fair  beauty,  is  a little 
negro  boy  with  jeweled  collar  and  head-band,  bearing  a golden  vase  of  roses. 
With  one  hand  the  bride  draws  aside  her  veil  of  silken  tissue  fastened  at 
either  side  with  ornaments  of  gold  and  scarlet.  Rossetti  considered  that  he 
never  surpassed  in  “downright  loveliness”  the  type  of  womanhood  here  rep- 
resented. 

“Excepting  one  or  two  later  works  of  the  master,  where  sentiment  of  a 
more  exalted  sort,  as  in  the  ‘ Proserpine,’  inspired  the  designs,  ‘The  Beloved,’  ” 
writes  Mr.  F.  G.  Stephens,  “appears  to  me  to  be  the  finest  production  of 
Rossetti’s  genius.  It  indicates  the  consummation  of  his  powers  in  the  high- 
est order  of  modern  art,  and  is  in  harmony  with  that  poetic  inspiration  which 
is  found  in  every  one  of  his  more  ambitious  pictures.” 

‘THE  LOVING  CUP*  P LATEX 

THIS  subject,  of  which  the  original  and  most  beautiful  version  is  here 
reproduced,  Rossetti  repeated  many  times.  It  represents  a young  woman 
in  crimson  robe,  standing  against  a background  of  white  linen  embroidered 
in  blue  and  crossed  by  a shelf  on  which  is  a row  of  brass  plates.  Her  eyes 
are  deep  blue,  and  her  brown  hair,  decorated  with  jewels,  is  looped  about  her 
neck,  around  which  are  necklaces  of  pearls  and  corals.  Over  her  right  shoul- 
der falls  a green  veil.  In  one  hand  she  lifts  the  golden  loving  cup  to  her 
lips,  holding  the  cover  in  the  other. 

The  picture,  formerly  in  the  Leyland  Collection,  is  now  owned  by  Mr. 
T.  H.  Ismay. 


A LIST  OK  THE  PRINCIPAL  PAINTINGS  BV  ROSSETTI 


Note  : The  letter  o.  following  the  name  of  a picture  denotes  that  it  is  in  oil ; the  letter  <zv.,  that  it  is 
in  water-color. 


PUBLIC  COLLECTIONS 


ENGLAND.  Birmingham,  Corporation  Art  Gallery:  The  Boat  of  Love,  0.; 

La  Donna  della  Finestra,  0.;  Sir  Galahad,  w. — Liverpool,  Walker  Art  Gal- 
lery: Dante’s  Dream,  0.  (Plate  v)  — London  National  Gallery  of  British  Art: 
‘Ecce  Ancilla  Domini,’  0.  (Plate  1);  Beata  Beatrix,  0.  (Plate  vn);  Portrait  of  Mrs.  Wil- 

[502] 


ROSSETTI 


41 


liam  Morris,  o. — Oxford,  Taylorian  Museum:  Dante  Drawing  the  Angel,  w. — 
WALES.  Llandaff  Cathedral:  Altar-piece:  The  Seed  of  David,  o.  (see  Plate  vi). 

PRIVATE  COLLECTIONS 

CANADA.  Montreal,  Owned  by  Mr.  J.  Ross:  La  Ghirlandata, o.  — ENGLAND. 

Owned  by  Mr.  J.  Aird:  Giotto  Painting  Dante's  Portrait,  <t v.  — Owned  by  Lord 
Battersea:  Mnemosyne,  o. — Owned  by  Mrs.  Boyce:  The  Annunciation,  w. — 
Owned  by  Mr.  T.  Brocklebank:  The  Roman  Widow,  o.  — Owned  by  Mr.  C.  But- 
ler: Proserpine,  <7.;  Fiammetta,  o.;  Pandora,  o.  — Owned  by  Mr.  F.  W.  Buxton: 
Mariana,  o.  — Owned  by  Mr.  S.  Pf.pys  Cockerell:  How  they  met  themselves,  to. ; 
Arthur’s  Tomb,  w.  — Owned  by  Rev.  S.  A.  Donaldson:  My  Lady  Greensleeves,  <tv. 
— Owned  by  Mr.  W.  Dunlop:  The  Bower  Meadow,  o.  — Owned  by  Mr.  L.  Hacon: 
Borgia,  w.  — Owned  by  Mr.  B.  Heaton:  Dante’s  Dream,  w.;  St.  George  and  Prin- 
cess Sabra,  A Lady  in  Yellow,  w.;  Joan  of  Arc,  <u>.;  Mary  in  the  House  of  St.  John, 
<tv. — Owned  by  Miss  Horniman:  Joli  Cceur,  o.  — Owned  by  Mr.  C.  Ionides:  The 
Day-dream,  o.  — Owned  by  Mr.  T.  H.  Ismay:  The  Loving  Cup,  o.  (Plate  x)  — Owned 
by  Mrs.  Jekyll:  The  Girlhood  of  Mary  Virgin,  o.  (Plate  n);  Fra  Pace,  w.  — Owned 
by  Mr.  T.  H.  Leathart:  The  Garden  Bower,  au.j  Paolo  and  Francesca,  w. — Owned 
by  Sir  Leonard  Lyell:  Portrait  of  Gabriele  Rossetti,  o.  — Owned  by  Mr.  W.  R.  Moss: 
La  Donna  della  Finestra,  o. ; Paolo  and  Francesca,  w.  (Plate  vm)  — Owned  by  Mr.  C. 
F.  Murray:  Bocca  Baciata,  0.;  Belcolore,  0. ; The  Merciless  Lady,  w.;  The  Laboratory, 
w.j  La  Belle  Dame  Sans  Merci,  <tv.;  A Christmas  Carol,  <w.;  Dr.  Johnson  at  the  Mitre, 
ov.j  Bonifazio's  Mistress,  w.;  Lucrezia  Borgia,  w.;  Portrait  of  Browning,  w.;  Portrait  of 
Swinburne,  w.  — Owned  by  Hon.  Mrs.  O’Brien:  The  Blessed  Damozel,  0.  (Plate  111)  — 
Owned  by  Countess  of  Pembroke:  Mary  Magdalene  at  the  Door  of  Simon,  w.  — Owned 
by  executors  of  the  late  Dyson  Perrins:  The  Blessed  Damozel,  0.;  The  Blue  Bower, 
0. — Owned  by  Sir  Cuthbert  Quilter:  La  Bella  Mano,  0.  — Owned  by  Mr.  G.  Rae: 
The  Beloved,  0.  (Plate  ix);  Monna  Vanna,  0.;  Sibylla  Palmifero,  0.;  A Christmas  Carol, 
0.;  Venus  Verticordia,  w.;  Mariana,  w.;  Fazio’s  Mistress,  0. ; The  Blue  Closet,  <w.; 
Paolo  and  Francesca,  w.;  Damsel  of  the  Sane  Grael,  <u>.;  Damsel  of  the  Sane  Grael,  0.; 
The  Tune  of  Seven  Towers,  rw.;  The  Chapel  before  the  Lists,  ‘iv.;  Wedding  of  St.  George, 
<ui. — Owned  by  Mr.  R.  Rea:  La  Pia,  0. — Owned  by  Mr.  H.  Roberts:  The  Gate  of 
Memory,  <w.  — Owned  by  Mr.  W.  Graham  Robertson:  Proserpine,  0.  (Plate  iv); 
Rosa  Triplex,  w. — Owned  by  Mr.  W.  M.  Rossetti:  The  Artist’s  Mother,  0.  — Owned 
by  Mr.  A.  Severn:  Regina  Cordium,  0.  — Owned  by  Mr.  S.  E.  Spring-Rice-.  ‘Hist!’ 
said  Kate  the  Queen,  0. — Owned  by  Mr.  H.  H.  Trist:  The  Dancing  Girl,  0. ; Regina 
Cordium,  0. — Owned  by  Mr.  R.  Vaile:  Veronica  Veronese,  0.  — Owned  by  Mr.  H.  T. 
Wells:  Beatrice  Denying  Salutation,  «to.;  Portrait  of  Mrs.  D.  G.  Rossetti,  w.  — UNITED 
STATES.  Boston,  Owned  by  Mrs.  J.  L.  Gardner:  Paolo  and  Francesca,  <w.  — Bos- 
ton, Owned  by  Mr.  J.  M.  Sears:  Tristram  and  Iseult,  w.  — Cambridge,  Owned  by 
Prof.  C.  E.  Norton:  Beatrice  Denying  Salutation,  <u>.;  Before  the  Battle,  tu.  — Chicago, 
Owned  by  Mr.  C.  L.  Hutchinson:  Beata  Beatrix,  0.  — New  York,  Owned  by  Mr.  S.  T. 
Peters:  Joan  of  Arc,  0.  — Rockford,  near  Wilmington,  Owned  by  Mr.  S.  Ban- 
croft, Jr.:  Found,  0.;  Lady  Lilith,  0.;  Water-willow,  0.;  Mary  Magdalene,  0. 


i\0ssrttt  Bthltogiaplj)) 

A LIST  OF  THE  PRINCIPAL  BOOKS  AND  MAGAZINE  ARTICLE: 

DEALING  WITH  ROSSETTI 

BATE,  P.  H.  English  Pre-Raphaelite  Painters.  London,  1899  — Bell,  N.  R.  E. 

Representative  Painters  of  the  xixth  Century.  London,  1899  — Caine,  T.  H.  Rec- 
ollections of  Rossetti.  London,  1882  — Carr,  J.  C.  Rossetti’s  Influence  in  Art  (in  Pa- 

[503] 


42 


MASTERS  IN  ART 


person  Art).  London,  1885  — Cary,  E.  L.  The  Rossettis.  New  York,  1900  — Des- 
tree,  O.  G.  Les  Preraphaelites.  Paris,  1897  — Fred,  W.  Die  Prae-Raphaelitcn, 
Strassburg,  1900  — Garnett,  R.  Rossetti  (in  Dictionary  of  National  Biography).  Lon- 
don, 1897  — Hoppin,  J.  M.  Great  Epochs  in  Art  History.  Boston,  1901  — Hake,  G. 
Memoirs  of  Eighty  Years.  London,  1892  — Knight,  J.  Life  of  Rossetti.  London,  1887 

— La  Sizeranne,  R.  de.  English  Contemporary  Art:  Trans,  by  H.  M.  Poynter.  New 
York  [1898]  — Layard,  G.  S.  Tennyson  and  his  Pre-Raphaelite  Illustrators.  London, 
1894  — MacColl,  D.  S.  Nineteenth  Century  Art.  Glasgow,  1902 — Marillier,  H.  C. 
Dante  Gabriel  Rossetti.  London,  1899  — Muther,  R.  History  of  Modern  Painting. 
New  York,  1896  — Muther,  R.  Geschichte  der  englischen  Malerei.  Berlin,  1903  — 
Nicholson,  P.  W.  Dante  Gabriel  Rossetti.  Edinburgh,  1886  — Parkes,  K.  The  Pre- 
Raphaelite  Movement.  London  [1889]  — Quilter,  H.  Sententise  Artis.  London,  1886 

— Quilter,  H.  Preferences  in  Art.  London,  1892  — Redgrave,  S.  A Century  of 
Painters  of  the  English  School.  London  [1890]  — Rod,  E.  Etudes  sur  le  xixc  siecle. 
Paris,  1888  — Rossetti,  D.  G.  Ballads  and  Sonnets;  Edited,  with  Memoir,  by  F.  Huef- 
fer.  Leipsic,  1882  — Rossetti,  D.  G.  Collected  Works.  Edited,  with  Memoir,  by  W.  M. 
Rossetti.  London,  1886  — Rossetti,  D.  G.  Letters  to  William  Allingham.  Edited  by 
G.  B.  Hill.  London,  1897  — Rossetti,  H.  M.  M.  Life  and  Works  of  D.  G.  Rossetti. 
London,  1902 — Rossetti,  W.  M.  Rossetti  as  Designer  and  Writer.  London,  1889  — 
Rossetti,  W.  M.  Dante  Gahriel  Rossetti:  Memoirs  and  Letters.  London,  1895  — Ros- 
setti, W.  M.  Ruskin:  Rossetti:  Pre-Raphaelitism.  London,  1899  — Rossetti,  W.  M. 
Preraphaelitc  Diaries  and  Letters.  London,  1900  — Rossetti,  W.  M.  Rossetti  Papers. 
London,  1903  — Ruskin,  J.  The  Art  of  England.  Orpington,  1884  — Scott,  W.  B. 
Autobiographical  Notes.  London,  1892  — Sharp,  W.  Dante  Gabriel  Rossetti.  London, 
1882 — Temple,  A.  G.  Painting  in  the  Queen’s  Reign.  London,  1897  — Tirebuck,  W. 
Dante  Gabriel  Rossetti.  London,  1882  — Watts,  T.  Rossetti  (in  Encyclopaedia  Bri- 
tannica).  Edinburgh,  1 883  — Wood,  E.  Rossetti  and  the  Pre-Raphaelite  Movement.  Lon- 
don, 1894  — Wyzewa,  T.  D.  Peintres  de  jadis  et  d'aujourd’hui.  Paris,  1903. 

magazine  articles 

ACADEMY,  1882:  T.  H.  Caine;  Obituary.  1883:  W.  C.  Monkhouse;  Exhibitions 
jLX.  of  Rossetti’ s Pictures — Art  Journal,  1883:  W.  Tirebuck;  D.  G.  Rossetti.  1884: 
W.  M.  Rossetti;  Notes  on  Rossetti.  1892:  V.  Princep;  Private  Art  Collections  of  London  — 
Athentf.um,  1882:  T.  Watts;  D.  G.  Rossetti  — Blackwood’s  Magazine,  1883:  J.  Bea- 
vington-Atkinson;  Contemporary  Art,  etc. — Burlington  Magazine,  1903:  W.  M. 
Rossetti;  Rossetti  and  Elizabeth  Siddal  — Century  Magazine,  1882:  E.  W.  Gosse; 
D.  G.  Rossetti  — Contemporary  Review,  1886:  W.  H.  Hunt;  The  Pre-Raphaelite 
Brotherhood  — Edinburgh  Review,  1900:  Morris  and  Rossetti — Gazette  des  Beaux- 
Arts,  1883:  T.  Duret;  Les  Expositions  de  Londres — Harper’s  Magazine,  1882: 
M.  Robinson;  D.  G.  Rossetti  — The  Hobby  Horse,  1886:  F.  Shields;  Notes  on  Ros- 
setti— Independent,  1898:  W.  C.  Ward;  D.  G.  Rossetti  — Lippincott’s  Magazine, 
1901:  H.  H.  Gilchrist;  Recollections  of  Rossetti  — Littell’s  Living  Age,  1897: 
T.  Sulman;  A Memorable  Art  Class  — Magazine  OF  Art,  1883:  S.  Colvin;  Rossetti  as 
a Painter.  1889:  W.  M.  Rossetti;  Portraits  of  D.  G.  Rossetti.  1900:  W.  M.  Rossetti; 
Marillier’s  Record  of  Rossetti — National  Review,  1883:  D.  Hannay;  The  Paintings 
of  Rossetti  — New  Englander,  1885:  L.  J.  Swinburne;  Rossetti  and  the  Preraphaelites 

— New  Review,  1894:  L.  H.  Caine;  A Child’s  Recollection  of  Rossetti  — Nineteenth 
Century,  1883:  F..  J.  Barrington;  The  Painted  Poetry  of  Watts  and  Rossetti.  1883  : 
T.  Watts;  The  Truth  about  Rossetti  — Portfolio,  1883:  F.  G.  Stephens;  Earlier 
Works  of  Rossetti.  1894:  F.  G.  Stephens;  Dante  Gabriel  Rossetti  — Putnam’s  Maga- 
zine, 1870:  W.  J.  Stillman;  Rossetti,  Painter  and  Poet  — Quarterly  Review,  1896: 
D.  G.  Rossetti  — Westermann’s  Deutsche  Monatshefte,  1899:  A.  Wilmersdoerffer; 
Rossetti  und  sein  F.influss. 


[504] 


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MASTERS  IN  ART 


The  CALDWELL  GALLERIES 


AREFULLY  selected  works 
by  prominent  modern  mas- 
ters. Cazin,Harpignies,Ziem, 
Thaulow,  Jacquet,  Rico, 
Gosselin,  Rene  Billotte, 
Blommers,  Bakhuizen,  Du  Chattel, 
Steelink,  Mesle,  and  many  others 

^Visitors  to  Philadelphia  are  invited  to  see  the 
gallery.  9 A.M.  to  5 P.M.  Catalogue  on  appli- 
cation 


902  Chestnut  Street 
PHILADELPHIA 


art  #allertes 

VMcture-Xighting  ' 

OF 

Is  in  Itself  an  Art. 

EDWARD  BRANDUS 

Fine  paintings  are  often  spoiled  by  ineffective 
or  poor  lighting. 

391  FIFTH  AVENUE  391 

«. 

Between  36th  and  37th  Streets 

Cljc  famous  f rink  £p0tcm 

NEW  YORK 

is  being  used  in  a large  number  of  the  finest 
galleries  in  the  country,  and  by  a great  many 
prominent  collectors.  Covers  the  pictures  with 
a strong,  even  light ; no  glare  in  the  eyes,  or 
spots  on  the  picture  space. 

16,  RUE  DE  LA  PAIX,  16 

PARIS 

€rI)tbttton  of  patnttngss 

By  the  Leading  Masters  of  the  French  School 
AND 

ancient  portraits 

&tt  -J&caI  light. 

We  have  made  a special  study  of  picture-light- 
ing, and  are  prepared  to  give  you  the  best  re- 
sults attainable.  Galleries,  individual  collections 
or  paintings  successfully  lighted.  Investigation 
invited. 

c 

By  the  Old  Masters  of  the  Early  French, 

I.  P.  FRINK, 

English,  and  Dutch  Schools 

551  Pearl  Street,  New  York  City. 

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MASTERS  IN  ART 


LET  US  ANSWER  ONE  QUESTION  IN  PRINT  WHICH  OUR  SALESMEN 

ARE  ASKED  EVERY  DAY 


Why  is  the  jingelus  better  than  any  of 
its  imitators  ? — other  piano  players? 


PEAKING  exactly,  the  ANGELUS  is  not  a “piano  player,”  but  a means  or  play- 
ing aid  with  which  you  can  play  any  known  piano  music  as  it  should  he  played.  Be- 
yond Its  general  superiority  in  construction — and  it  is  the  product  of  the  Messrs. 
White,  of  whom  there  are  three  living  generations  who  have  devoted  their  lives  to 
the  work  of  perfecting  high-class  musical  instruments — its  Phrasing  Lever  removes 
this  instrument  to  a class  by  itself  where  the  imitators  with  their  automatic  expression 
indicators  cannot  follow. 


THE  PHRASING  LEVER,  a small  ivory  tablet,  simply  frees  the  performer.  You 
can  play  any  music  you  like  with  all  the  grace  and  expression  known,  if  you  have  an 
ANGELUS.  If  you  wish  to  play  any  composition  in  the  conventional  manner,  you  will 
find  this  very  simple,  as  the  rolls  are  plainly  marked,  but  when  you  wish  to  impro- 
vise, so  to  speak,  or  vary  the  playing  to  suit  every  whim  or  fancy,  you  must  have  the 


Piano 

P L AYE R 


ANGELUS  PHRASING  LEVER. 


Arcade  : Ilallet  4 Davis  Piano 
Co. 

Baltimore  : Juelg  A Co. 

Poston  : C.  C.  Harvey  A Co. 
Chicago  : Geo.  P.  Pent. 

Cincinnati  : The  W.  G.  Wood- 
mansee  Piano  Co. 

Denver  : Knight- Locke  Piano  Co. 
Galveston  : Tims.  Goggan  A Pro. 
Kansas  City  : Carl  Hoffman 
Music  Co. 

Los  Angeles  : The  Partlett  Music 

Co. 

ItLI'STIUTKII  BOOKLET  FREE 


Minneapolis  : Poster  A Waldo. 
New  Haven,  Conn.  : The  Treat  A 
Shephard  Co.,  837  Chapel  St. 

New  Orleans  : Junius  Hart  Piano 
House. 

New  York:  John  Wanamalter. 
Omaha  : A.  Hospe  A Co. 
Philadelphia  : John  Wana- 
raaker. 

Pittsburg  : S.  Hamilton. 
Portland,  Me.  : McGouldrick  A 
Foster,  482  Congress  St. 


Portland,  Ore.  : The  Manufac- 
turers' Piano  Co. 

Rochester,  N.  Y.  : G.  B.  Miller, 

63  State  St. 

San  Francisco  ; 

A Co. 

Springfield,  Mass. 

334  Main  Street. 

Syracuse  : S.  Kosenblooin  A Sons. 
Washington  : Juelg  A Co. 

And  other  local  agencies  through 
out  the  country. 


Sherman  Clay 

M.  P.  Conway, 


i ' oiiKirsn  £U.  Ulll  IIIC  CUUHIl}. 

J.  Herbert  Marshall,  Regent  House,  Regent  St.,  London. 


THE  WILCOX  & WHITE  CO.,  Sole  Makers,  Meriden,  Conn.,  U.  S.  A. 

Established  1876. 


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MASTERS  IN  ART 


3 Jfctu  jUtastcrptrcrs  of  tljc  J3re=l\api)aelttc  §£>cljool 

WE  have  just  issued  a booklet 
under  the  above  title,  containing 
announcements  of  three  new  publica- 
tions after  originals  by  Walter  Crane, 
and  also  of  the  different  reproductions 
of  the  Pre-Raphaelite  School  alreadv 
published  by  us  of  Burne-Jones,  Ros- 
setti, Strudwick,  Holiday,  etc.  This 
booklet  is  adorned  with  a number  of 
illustrations  and  we  shall  be  pleased  to 
mail  a copy  of  the  same  upon  receipt 
of  20  cents  in  stamps. 

To  our  fine  collections  from  the  Old 
Masters  published  in  monochrome  cop- 
per-prints of  the  highest  standard  we 
have  added  lately: 

THE  MASTERPIECES  OF  THE  VIENNA  GALLERY. 

Prospectus  of  the  same  mailed  upon  application. 


Berlin  pijotograplnc  Company  3 ^ fine  art  piibltgljcrgs 

14  EAST  23d  STREET,  NEW  YORK 


COLORGRAPHS 

^||UR  new  pictures,  the  “Colorgraphs,” 
are,  as  the  title  suggests,  reproduc- 
ed tions  in  co  r.  The  subjects  have 
been  carefully  selected  from  the  most  famous 
works  of  both  ancient  and  modern  masters. 
The  “Colorgraphs”  will  at  once  be  recog- 
nized as  gems  of  art,  for  their  faithfulness  to 
the  originals  in  the  depth  and  beauty  of  col- 
oring brings  them  close  to  the  possible  limits 
of  reproductive  art. 

Hist  of  .Subjects  jftouj  ttcoDp 


MADONNA  DEL  GRAN  DDCA 
MADONNA  OF  THE  CHAIR 
CORONATION  OF  THE  VIRGIN 
ST.  ANTHONY  OF  PADUA 
ST.  CECILIA 

MARY’S  VISIT  TO  ELIZABETH 
HOLY  FAMILY 
MADONNA  AND  CHILD 
CHRIST  THE  CONSOLER 
THE  GOOD  SHEPHERD 
REPOSE  IN  EGYPT 


By  Raphael 
By  Raphael 
By  Botticelli 
By  Murillo 
By  Raphael 
By  Albertinelli 
By  Andrea  del  Sarto 
By  Murillo 
By  Plockhorst 
By  Plockhorst 
By  Plockhorst 


HEAD  OF  CHRIST.  From  “Christ  and 
the  Rich  Young  Ruler  ’ ’ By  Hofmann 

C.The  “Colorgraphs”  are  8 x io  inches  in  size,  and 
each  is  enclosed  in  a neat  declcle-edged  portfolio. 

Price,  35  cents  each 


W.  A.  WILDE  COMPANY 

BOSTON  CHICAGO 

120  Boylston  Street  192  Michigan  Avenue 


Artistic  Home  Decorations 


You  may  be  sure  of  obtain, 
ing  genuine  specimens  protect- 
ed by  our  private  mark  of 

Navajo  Indian  Blankets, 
Cliff  Dwelling  Pottery 
and  Pueblo  Indian 
Pottery. 


1 hese  goods  arc  bought  by  us  direct  from  the  Indians. 
They  are  selected  with  taste,  discrimination  and  knowl- 
edge.  Remember  everything  we  sell  is  guaranteed. 
If  you  will  write  us  for  our  iriustrabd  brochure,  which 
includes  our  price-list,  it  will  be  mailed  you  for  the  asking 
and  a two  cent  stamp  to  cover  postage,  and  will  be  of  in- 
terest to  all  lovers  of  Indian  handicraft;  also  illustrated 
article  showing  how  we  can  furnish  for  you  an  Indian  cor. 
ncrin  your  den  ; this  free  also.  Please  address  the 

INDIAN  ARIS  CO.,  100  Aztec  Ave.,  Gallup,  N.  M. 


OUTLINES  for  ART  STUDY 

EDITORS: 

Louie  M.  Powb,  H.  H.  Powers,  Pii.D., 

Late  of  Wells  College  Late  of  Cornell 

^HE  Outlines  are  being  widely  used  by  clubs  and  individuals 
W with  satisfaction  and  enthusiasm.  Studied  with  a new  scries 
of  Penny  Reproductions,  they  have  been  called 

“A  LABORATORY  MANUAL.” 

They  make  possible  direct  first-hand  study, — the  only  inspiring 
kind.  Send  for  Prospectus  to 

Art  Study  Dept.,  BUREAU  OF  UNIVERSITY  TRAVEL 
101  Clarendon  Street  (Opposite  Trinity  Church),  Boston 


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MASTERS  IN  ART 


Lowney’s  Chocolates 


Have  achieved  by  their  uniformly  Delicious  Quality, 
Perfect  Purity,  and  Delightful  Flavors,  the 

LARGEST  SALES 
OF  ANY  CONFECTIONS 
IN  THE  WORLD 


LOWNEY’S  CANDIES  in  the  Original  Sealed  Pack- 
ages are  guaranteed  to  be  in  perfect  condition  or 
money  refunded.  Guarantee  slip  in  each  sealed  package. 

P.  S. — We  send  FREE  the  Lowney  Receipt-Book,  telling 
how  to  make  Chocolate  Bonbons,  Fudge, 
i Icings,  etc.,  etc.,  at  home. 


THE  WALTER  M.  LOWNEY  COMPANY 
k No.  447  Commercial  Street 
BOSTON,  MASS. 


& ON  ever-/  ^ 


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MASTERS  IN  ART 


THE  STANDARD 


PURCHASERS  of  fine  table  silver  will 
appreciate  in  World  Brand  Silverware 
an  exclusion  of  design  not  found  in  other 
brands.  We  are  constantly  producing  new 
creations  that  have  not  been  made  common 
by  general  hotel  and  public  use.  We  em- 
ploy a corps  of  the  best,  artists  and  designers 
at  all  times,  with  this  object  in  view.  There 
are  other  good  points  as  to  why  World 
Brand  Silverware  is  best.  Our  beautiful 
illustrated  catalogue  tells  you 

[■-iv  The  American  Silver  Co. 

IS  Main  Street.  Bristol,  Conn. 

Va  particulars. 


ffiastersiivHrt 

K'0«rtf9^|lustrattiiiftonofitapl)S 


IDol.  1. 


IDol.  U. 


Part  i. 
Part  i.- 
Part  3.- 
Part  4.- 
Part  5.- 
Part  6.- 
Part  7.- 
Part  8.- 
Part  9.- 
Part  10.- 
Part  1 1 
Part  12.- 


-VAN  DYCK 

-TITIAN 

-VELASQUEZ 

-HOLBEIN 

-BOTTICELLI 

-REMBRANDT 

-REYNOLDS 

-MILLET 

-GIO.  BELLINI 

-MURILLO 

-HALS 

-RAPHAEL 

*Sculf>turt 


Part  13. — 
Part  14.— 
Part  15.— 
Part  16.— 
Part  17.— 
Part  18.— 
Part  19.— 
Part  20.— 
Part  21.— 
Part  22.— 
Part  23.— 
Part  24.— 
f Paint 


IDol.  Ul. 


IDol.  UD. 


Part  17, 
Part  58, 
Part  jg, 
Part  40, 
Part  41 , 
Part  41, 
Part  45, 
Part  44, 
Part  45, 
Part  46, 
Part  47, 
Part  48 


JANUARY 

FEBRUARY 

MARCH 

APRIL 

MAY 

JUNE 

JULY 

AUGUST 

SEPTEMBER 

OCTOBER 

NOVEMBER 

DECEMBER 


A partial  list  of  the  artists  to  be  considered  in  1 Masters  in  Art’ 
during  the  forthcoming,  1904,  Volume  will  be  lound  on  another 
page  of  this  issue.  The  1904  Volume  will  begin  with 

PART  49,  THE  ISSUE  FOR 

3 a mint  y 

WHICH  WILL  TREAT  OF 

fm  Bartolommeo 


NUMBERS  ISSUED  IN  PREVIOUS  VOLUMES 
OF  ‘MASTERS  IN  ART  * 


RUBENS 
DA  VINCI 
DURER 

MICH  ELAM . I LO* 
M 1 C H E LANGE LO  \ 
COROT 
BURNE-JONES 
TER  BORCH 
DELLA  ROBBIA 
DEL  SARTO 
GAINSBOROUGH 
CORREGGIO 
ing 


Part  25.— PHIDIAS  Part  31.— PAUL  POTTER 

Part  26.— PERUGINO  Part  32.— GIOTTO 

Part  27.— HOLBEIN  § Part  33.— PRAXITELES 

Part  28 —TINTORETTO  Part  34.— HOGARTH 

Part  29  - PIETER  de  HOOCH  Part  35.— TURNER 

Part  30.— NATTIER  Part  36.— LUINl 

\ Drawings 


ROMNEY 
. FRA  ANGELICO 
. WATTEAU 
RAPHAEL’S  FRESCOS 
DONATELLO 
GERARD  DOU 
CARPACCIO 
ROSA  BONHEUR 
GUIDO  REN1 
PUVIS  DE  CHAVANNES 
GEORG  ION E 
ROSSETTI 


9UI  the  abode  named  issues 
are  conptantlp  Kept  in  stork 

PRICES  UP  TO  JANUARY  I,  1904 

SINGLE  PARTS,  IS  CENTS  EACH.  ANY  TWELVE  CON- 
SF.CVTINF.  PARTS,  #1.50.  VOLUME  1,  CONTAINING 
PARTS  1 TO  12,  INCLUSIVE;  VOLUME  2,  CONTAIN- 
ING PARTS  13  TO  24,  INCLUSIVE;  AND  VOLUME  3, 
CONTAINING  PARTS  25  TO  3G  INCLUSIVE,  CAN  BE 
SUPPLIED  BOUND,  IN  BROWN  BUCKRAM,  WITH 
GII.T  STAMPS  AND  GILT  TOP,  FOR  #3.00  EACH  ; IN 
GREEN  H AI.F-MOROCCO,  GILT  STAMPS  AND  GII.T 
TOP,  FOR  #3  50  EACH.  VOLUME  4, BOUND,  READY 
ABOUT  JANUARY  1,  1904. 


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EPICURE 


Vanilla 

Chocolate 


tsrii 


£ 


EPICURE 

"6"  — 


l'.lltl 


fjU 


VANILLA 

Vr~-  . 


5 and  io-Cent  Cakes 


!£•  ' 


30^  CH0cOM4Te 


Economical 

Healthful 


• « ji » -in  \'W 


Invigorating 

Nourishing 


CEFABR«CEtRO  DOOR  DE 

MOILANDSCHE  CHOCOLADE  MAATSCMt'.OE  VRIENDSCHAP* 
AMSTERDAM  ( HOLLAND  ) 

HOI.  a-im_dsche  c h ocolad  e 


iMumri 


Half-Pounds 


S.  S.  PIERCE  CO. 

importers  and  Grocers 

Cor.  Tremont  and  Beacon  Sts.  ) p>n<2rrni\j  J Coolidge’s  Corner 
Copley  Square  f £5U:=>AU1N  \ BROOKLINE 


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on 


’HE  I-OFTIS  SYSTE3I 

permits  you  to  have  a great  Christmas 
for  a very  little  money.  With  five  or  ten  dollars 
for  a first  payment,  you  can  make  the  gift  of  all  gifts — a 1 

i Your  C'hristuiiis  Plans  will  not  be  complete  until  you  have  looked  through 
J ur  beautifully  illustrated  Catalogue,  and  considered  what  you  can  do  in  conjunction  with  the 
1.0  FT  IS  SYSTEM.  Write  to-day  for  our  Catalogue  and  from  it  select  any  article  that  you  would  like  to 
wear  and  own,  or  to  use  as  a Christmas  remembrance  lor  the  loved  one.  We  will  at  once  send  the  article  to  your 
home,  place  of  business  or  express  office  as  you  may  prefer.  Examine  it  as  carefully  as  you  wish— when,  if  it  is  all  that  you 
anticipated,  and  the  best  value  you  ever  saw  for  the  money  asked,  pay  one-fifth  of  the  price  and  keep  it.  The  balance  you 
may  send  us  in  eight  equal  monthly  payments.  If  it  fails  in  any  way  to  wholly  please  you,  simply  send  it  back  at  our, 
expense.  Whether  you  buy  or  not,  there  are  no  express  or  other  charges  to  pay. 

W e ask  only  one  opportunity  f r making  you  a pleased  and  per- 
manent patron  of  our  house  which  is  the  largest  Diamond  house  in 
the  world  and  one  of  the  oldest— Est  1858.  Your  local  banker  can 
tell  you  all  about  us.  He  can  by  referring  to  his  books  of  Commercial 
ratings,  show-  you  that  we  stand  very  high  in  the  business  world,  and 
that  our  representations  can  be  accepted  without  question. 

AW  giv«*  a Guarantee  Certificate  with  every  Diamond;  we 
make  the  most  liberal  exchanges;  we  give  a selection  from  the  largest 
stock;  we  make  the  lowest  prices  and  the  easiest  terms.  We  do  business 
promptly,  satisfactorily  and  confidentially.  Every  patron  is  assured 

I absolute  satisfaction,  and  every  courtesy  that  liberal  business  methods 
can  extend. 

TO  CASH  BUYERS  ; If  you  prefer  to  buy  for  cash,  we  have  a 
) proposition  to  make  that  is  thoroughly  characteristic  of  our  house.  It  is 
nothing  less  than  an  agreement  to  return  all  that  you  pay  fora  Diamond 
— less  ten  per  cent,  at  any  time  within  one  year.  Thus,  you 
might  wear  a fifty-dollar  Diamond  for  a year,  then  send  it 
back  to  us  and  get  $45.00.  making  the  cost  of  wearing  the  Dia- 
mond for  a whole  year  less  than  ten  cents  a week.  No  other 
house  is  satisfied  with  a ten  per  cent  profit,  hence  we  are 
not  followed  in  this  offer. 

Write  today  for  Catalogue. 

LOFTIS  BROS.  CO. 

Diamonds— Watches— Jewelry 

Dept.  P-237.  02  to  08  State  Street,  CHICAGO,  ILL,. 


v 


Cf)t 

Cta'otlcr’s 
9lrt  Club 

A PRACTICAL  and 
successful  method 
for  the  Study  of  Art  at  your  home,  or  in 
clubs,  devised  and  arranged  by  Mrs.  Adeuza 
Brainerd  Chaffee,  after  years  of  experience 
in  Lecturing,  Study,  and  Foreign  Travel. 


»ir  topics 

Full  details  upon  application 

" ' ■ — 

^Raphael’s  Hours,  adapted  to  Calendar  form, 
there  being  12  Hours  and  12  Months,  with 
portrait  of  Raphael  for  title-page.  A description 
of  each  Hour,  copyrighted  by  Mrs.  Chaffee, 
accompanies  each  month. 

CA  most  artistic  1 904  Calendar,  size  11x14 
inches.  75cents,postpaid,uponreceiptof price, 
to  all  parts  of  the  United  States  and  Canada. 

<E1)C  Stutrto 

1 Hancock  St.,  Worcester,  Mass. 


GIBSON  PYROGRAPHY 

By  contract  just  cltMtd  with  Lin.  we  have  acquired  the  EXCLUSIVE  right  to  REPRO- 
DUCE i.IBSON  DESIGNS  for  PYROGRAPHY.  Charles  Dana  Gibson  i.  not  only  the  moat 
famous  living  pen-and-ink  arlut.  hie  works  filing  lor  fabulous  Mime,  hut  hie  lines  arc  ad- 
mirably adapted  to  Pjrograpbic  reproduction. 

T.  & C.  OUTFIT  NO.  95  $t  gQ 

Shown  above,  value  I*  temporarily  offered  for  * 

Tide  Is  a high-grade  in-tnmient.  splendidly  made  of  the  beet  material*,  and  include*  fine 
Plat  mum  Point,  Cork  Handle.  Rubier  Tubing:.  Double  Action  Bulb,  Metal  Uoktt  Cork, 
B >ttle.  Alcohol  Lamp.  Two  Pieces  Stamped  Practice  Wood,  and  full  instructions.  all  con- 
t uned  in  neat  leatherette  B01.  For  sale  hy  your  dealer,  or  sent  by  us  C.O.D.  for  exami- 
nation. Write  for  our  liijs  fi4-pare  Catalogue  with  colored  inserts  No.  Q 52— FREE. 

^ Illustrate*  hundred*  Of  Gibson  and  other  artistic  designs  on  wood,  ready 

^ ( \ for  burning,  together  with  all  kinds  of  Pyograpby  outfits  at  lowest  prices. 
hicagq/  This  trade-mark  on  everything  we  make.  It  means  quality.  Gall  for  T.  ft 
C.  Pyrographlo  Goods. 


Thayer  & Chandler,  162-164  W.  Jackson  Blvd,  Chicago. 


Largest  Makers  of  Pyrography  Goods  in  the  World 


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MASTERS  IN  ART 


ANY  Of  these  beautiful,  genuine  Diamonds  and  fine  Pearls,  in  solid  gold,  hand-made  mountings  will  be  sent 
n direct  from  our  factory  on  receipt  of  price,  or  C.  O.  D.,  subject  to  inspection.  Order  by  number.  We  send  goods  prepaid 
and  guarantee  safe  delivery.  Your  money  back  without  a question  if  you  are  not  wholly  pleased.  Our  diamonds  are  of  superior 
quality  and  we  sell  only  fine,  high-grade  goods  and  list  everything  at  wholesale  prices.  Our  beautifully 
illustrated  Catalogue  (240  pages)  shows  thousands  of  photographs  of  the  newest  and  finest  goods.  IT’S  FRFK  — send  for  it 
to  day  and  save  one-half  on  your  Christinas  shopping.  We  are  the  largest  concern  in  the  business 'and  one  of  the 
oldest.  — Est.  1R40.  We  refer  to  the  Commercial  National  Bank  of  Chicago.  Capital  two  million  dollars. 

s.  X.  ALTEMUS  (SI  CO.,  Diamond  Merchant s , Cold  and  Sifxlersmiths . 

D iamonds.  Watches.  Jetoelry,  Sterling  Sillier,  330-1*  Stewart  Building 

Cut  Class,  ffoslelties,  Etc.,  Etc,  — • ’ -----  - - 


Chicago,  111.,  U.  S.  A, 


Christmas  (Sifts  lUijc  ©crry  pictures 

ONE  CENT  EACH  for  25  or  more;  120 


Send  25  cents  for 

25  Art  Subjects,  or 
25  Madonnas,  or 
25  On  Life  of  Christ,  or 
25  I .andscapcs,  or 
25  Dogs,  Kittens,  etc.,  or 
25  Authors  and  Poets,  or 
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Each  set  in  a portfolio,  or 
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Susan  F.  Bissell  F.  Luis  Mora 

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Douglas  John  Conna h Elisa  A.  Sargbnt 

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E.  C.  TARBELL  ) n_.„  . 

F.  W.  BENSON  | D™"'nP  and 
PHILIP  HALE  ) p*IDUn6- 

B.  L.  PRATT  Modeling 

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I 

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Henrietta  Wilson  > 

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36th  year:  Sept.  28th,  1903,  to  May  28th,  1904. 

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_ 


GETTY  CENTER  LIBRARY  MAIN 


NO  497  R78  IM2  BKS 

C.  1 

Dante  Gabriel  Rossetti . English  school 


3 3125  00322  0007 


